Giovanni Pierluigi da Palestrina |
Giovanni Pierluigi daga Palestrina
Fitaccen mawakin Italiyanci na karni na XNUMX, wanda ba a taɓa gani ba na mawallafin choral polyphony, G. Palestrina, tare da O. Lasso, yana ɗaya daga cikin mahimman adadi a cikin kiɗa na ƙarshen Renaissance. A cikin aikinsa, mai girma da yawa a cikin girma da kuma wadatar nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan iri iri iri daban-daban na nau'ikan nau'ikan nau'ikan nau'ikan fure, nau'ikan nau'ikan nau'ikan iri, girma da girma, haɓakar ƙira da ƙira, fasahar choral", wanda ya haɓaka sama da ƙarni da yawa (mafi yawan mawaƙan abin da ake kira makarantar Franco-Flemish), ya kai matsayin mafi girma. Kiɗa na Palestrina ya sami mafi girman haɗin fasaha na fasaha da buƙatun maganganun kiɗan. Mafi hadaddun saƙar muryoyin muryoyin masana'anta na polyphonic duk da haka suna ƙara zuwa hoto mai ma'ana da jituwa: ƙwararrun mallakin polyphony yana sa a wasu lokuta ba a ganuwa ga kunne. Tare da mutuwar Palestrina, duk wani zamani a cikin ci gaban kiɗa na Yammacin Turai ya shiga baya: farkon karni na XNUMX. ya kawo sababbin nau'o'i da sabon ra'ayi na duniya.
Rayuwar Palestrina ta kasance cikin kwanciyar hankali da mai da hankali kan hidimar fasaharta, ta hanyarta ta dace da manufofinsa na fasaha na daidaito da jituwa. An haifi Palestrina a wata unguwa da ke birnin Rome mai suna Palestrina (a zamanin da ana kiran wannan wuri Prenesta). Sunan mawaki ya fito daga wannan sunan yanki.
Kusan duk rayuwarsa Palestrina ya zauna a Roma. Ayyukansa suna da alaƙa da haɗin kai tare da al'adun kiɗa da liturgical na manyan manyan cocin Romawa uku: Santa Maria della Maggiore, St. John Lateran, St. Peter. Tun lokacin yaro, Palestrina ta rera waka a cikin mawakan coci. A cikin 1544, yayin da yake matashi, ya zama organist kuma malami a cikin babban coci na ƙasarsa kuma ya yi aiki a can har zuwa 1551. Takardun shaida na ayyukan kirkiro na Palestrina a wannan lokacin ba a nan, amma, a fili, riga a wancan lokacin. lokaci ya fara ƙware hadisai na nau'in taro da motet, wanda daga baya zai ɗauki babban matsayi a cikin aikinsa. Yana yiwuwa wasu daga cikin talakawansa, daga baya aka buga, an riga an rubuta su a cikin wannan lokacin. A cikin 154250 Bishop na birnin Palestrina shine Cardinal Giovanni Maria del Monte, daga baya aka zabe shi Paparoma. Wannan shi ne babban majiɓincin Palestrina na farko, kuma godiya gare shi ne matashin mawaƙin ya fara bayyana akai-akai a Roma. A cikin 1554 Palestrina ta buga littafin farko na talakawa da aka keɓe ga majiɓincinsa.
Ranar 1 ga Satumba, 1551, an nada Palestrina a matsayin shugaban Giulia Chapel a Roma. Wannan ɗakin sujada shine cibiyar kiɗa na St. Peter's Cathedral. Godiya ga kokarin Paparoma Julius na biyu, an sake tsara ta a lokacinsa kuma ta zama muhimmiyar cibiyar horar da mawakan Italiya, sabanin cocin Sistine Chapel, inda baki suka fi yawa. Ba da da ewa Palestrina ta tafi hidima a cikin Sistine Chapel - da hukuma music Chapel na Paparoma. Bayan mutuwar Paparoma Julius II, an zaɓi Marcellus II a matsayin sabon Paparoma. Tare da wannan mutumin da aka haɗa daya daga cikin shahararrun ayyukan Palestrina, wanda ake kira "Mass of Paparoma Marcello", wanda aka buga a 1567. A cewar almara, a cikin 1555 Paparoma ya tattara mawakansa a ranar Juma'a mai kyau kuma ya sanar da su bukatar yin waƙar don Makon Ƙaunar wannan taron ya fi dacewa da wannan taron, kuma kalmomin sun bambanta kuma a fili.
A watan Satumba na shekara ta 1555, ƙarfafa tsauraran matakai a cikin ɗakin sujada ya kai ga korar Palestrina da wasu mawaƙa guda biyu: Palestrina ta yi aure a lokacin, kuma alƙawarin ba da aure yana cikin yarjejeniyar ɗakin sujada. A cikin 1555-60. Palestrina ce ke jagorantar cocin cocin St. John Lateran. A cikin 1560s ya koma Cathedral na Santa Maria della Maggiore, inda ya taba karatu. Ya zuwa wannan lokaci, daukakar Palastinu ta riga ta yadu bayan iyakokin Italiya. Wannan yana tabbatar da cewa a cikin 1568 an ba shi tayin a madadin Sarkin sarakuna Maximilian II don ya ƙaura zuwa Vienna a matsayin mai kula da bandeji na sarki. A cikin wadannan shekaru, aikin Palestrina ya kai ga kololuwa: a 1567 an buga littafin na biyu na talakawansa, a 1570 na uku. Har ila yau, ana buga motetin sa mai kashi huɗu da biyar. A cikin shekaru na ƙarshe na rayuwarsa, Palestrina ya koma matsayin shugaban cocin Giulia Chapel a St. Peter's Cathedral. Dole ne ya jure wahalhalu da yawa: mutuwar ɗan’uwansa, ’ya’yansa maza da mata. A ƙarshen rayuwarsa, Palestrina ya yanke shawarar komawa garinsu zuwa matsayin shugaban ƙungiyar mawakan coci, inda ya yi hidima shekaru da yawa da suka wuce. Tsawon shekaru, shakuwar Palestrina da guraren tasu ta yi ƙarfi: shekaru da yawa bai bar Roma ba.
Tatsuniyoyi game da Palestrina sun fara samun tsari a lokacin rayuwarsa kuma sun ci gaba da haɓaka bayan mutuwarsa. Ƙaddamar abin da ya halitta na al'adunsa ya juya ya zama mai farin ciki - a zahiri bai san mantuwa ba. Kiɗa na Palestrina gabaɗaya ta tattara sosai a fagen ruhi: shi ne marubucin sama da 100 talakawa, fiye da 375 motets. 68 offertorias, wakoki 65, litanies, makoki, da sauransu. Duk da haka, ya kuma ba da girmamawa ga nau'in madrigal, wanda ya shahara sosai a Italiya a ƙarshen Renaissance. Ayyukan Palestrina sun kasance a cikin tarihin kiɗa a matsayin misali mara kyau na fasaha mai yawa: a cikin ƙarnuka masu zuwa, kiɗansa ya zama abin koyi a cikin aikin koyar da mawaƙa fasahar polyphony.
A. Pilgun
Giovanni Pierluigi da Palestrina (Italiya) mawaki, shugaban yawan phony na Roman. makarantu. A cikin 1537-42 ya rera waƙa a cikin ƙungiyar mawaƙa ta maza a cikin cocin Santa Maria Maggiore, inda ya sami ilimi a cikin ruhin polyphony. hadisai na makarantar Dutch. A 1544-51 organist da bandmaster na babban coci na St. Palestine. Daga 1551 har zuwa karshen rayuwarsa ya yi aiki a Roma - ya jagoranci chapels na Cathedral na St. Bitrus (1551-55 da 1571-94, Julius Chapel), majami'u na San Giovanni a Laterano (1555-60) da Santa Maria Maggiore (1561-66). Ya shiga cikin tarurrukan addini na firist na Roma F. Neri (ya rubuta op. a gare su), ya jagoranci ikilisiya (al'umma) na mawaƙa, shi ne darektan makarantar rera waƙa a cocin Santa Maria Maggiore, kuma ya jagoranci ɗakin sujada na Cardinal d'Este. Ya jagoranci ƙungiyar mawaƙa, horar da mawaƙa, rubuta jama'a, motets, ƙarancin madrigals. Tushen P. - tsarki choral music a cappella. Madrigal dinsa na boko ba su da bambanci da kiɗan coci. Kasancewa a Rome, a cikin kusanci zuwa Vatican, P. A matsayina na mawaƙi kuma mai yin wasan kwaikwayo, kai tsaye na ji tasirin yanayin Counter-Reformation. Majalisar Trent (1545-63), wanda ya tsara ra'ayoyin Katolika. halayen, ya kuma yi la'akari musamman tambayoyi na coci. kiɗa daga matsayi masu adawa da Renaissance humanism. Kyawun Ikilisiya ya samu a wancan lokacin. art-va, da ban mamaki hadaddun na polyphonic. ci gaba (sau da yawa tare da sa hannu na kayan aiki) ya sadu da yanke shawara. juriya na wakilan Counter-Reformation. A ƙoƙarin ƙarfafa tasirin Cocin a kan talakawa, sun buƙaci a bayyana a cikin akida. rubutun liturgy, wanda a shirye suke don fitar da manufa da yawa. kiɗa. Duk da haka, wannan matsananciyar ra'ayi bai sami goyon baya gaba ɗaya ba: sha'awar "bayyana" salon polyphony, don ƙin tasirin duniya a fili, don rarrabe kalmomi a cikin polyphony, a zahiri nasara. aiki da cappella. Wani irin labari ya taso cewa "mai ceto" na polyphony a cikin Katolika. Ikilisiya ya kasance P., wanda ya ƙirƙiri mafi kyawun misalan m, ba tare da ɓoye kalmomin polyphony akan jituwa ba. tushe (mafi shaharar misali shine "Mass of Paparoma Marcello", 1555, sadaukar da wannan baban). A haƙiƙa, wannan tarihi ne da gaske. polyphonic ci gaban art-va, zuwa ga tsabta, filastik, ɗan adam na fasaha. image, da kuma P. tare da balaga na al'ada ya bayyana hakan a cikin iyakacin iyaka na ƙungiyar mawaƙa. kiɗa na ruhaniya. A cikin yawancin Op. Matsayin tsayuwar sautin polyphony da fahimtar kalmar yayi nisa da iri ɗaya. Amma P. babu shakka gravitated zuwa ga ma'auni na polyphonic. kuma masu jituwa. na yau da kullun, "tsaye" da "tsaye" a cikin kiɗa. sito, zuwa kwanciyar hankali na duka. Da'awar P. hade da jigogi na ruhaniya, amma ya fassara shi a sabuwar hanya, kamar Italiyanci mafi girma. zane-zane na High Renaissance. AP ya tsananta batun batun, wasan kwaikwayo, bambance-bambance masu kaifi baƙon abu ne (wanda ke da alaƙa ga adadin mutanen zamaninsa). Waƙarsa tana da aminci, alheri, tunani, baƙin cikinsa mai tsafta da kamewa, girmansa mai daraja da tsauri, waƙoƙinsa suna ratsawa da natsuwa, sautin gaba ɗaya yana da haƙiƙa da ɗaukaka. AP ya fi son ƙayyadaddun tsari na ƙungiyar mawaƙa (muryoyin 4-6 suna motsi tare da santsi mai ban mamaki a cikin ƙaramin kewayon). Sau da yawa jigo - hatsi na op na ruhaniya. ya zama waƙar chorale, shahararriyar waƙa, wani lokaci kawai hexachord, mai sauti a cikin polyphony. gabatarwar ta kasance har ma da kamewa. Kiɗa P. tsananin diatonic, tsarin sa yana ƙaddara ta hanyar baƙar fata (ana yin shirye-shiryen dissonant koyaushe). Ci gaban gaba ɗaya (ɓangare na taro, motet) yana cika ta hanyar kwaikwayo ko canonical. motsi, tare da abubuwa na vnutr. bambance-bambance ("germination" na irin wannan wakoki a cikin haɓakar waƙoƙin murya). Wannan saboda. mutuncin abun ciki na alama da kiɗa. sito a cikin abun da ke ciki. A cikin rabi na 2. 16 a cikin. a daban-daban m. Makarantun Zap A Turai, an yi ta neman wani sabon abu - a fagen wasan kwaikwayo. bayyana waƙar, virtuoso instrumentalism, m Multi-mawa rubuta, jituwa chromatization. harshe, da dai sauransu. AP da gaske ta yi adawa da waɗannan abubuwan. Duk da haka, ba tare da faɗaɗa ba, amma a zahiri yana taƙaita kewayon hanyoyin fasaharsa, ya sami ƙarin bayyananniyar fa'idar filastik, mafi daidaituwar yanayin motsin rai, kuma ya sami launuka masu tsabta a cikin polyphony. kiɗa. Don yin wannan, ya canza ainihin halin wok. polyphony, bayyana jituwa a cikinta. Fara. Don haka, P., yana tafiya hanyarsa, ya kusanci ɗakin ajiya da shugabanci tare da Italiyanci. kalmomin ruhi da na yau da kullun (lauda) kuma, a ƙarshe, tare da wasu. mawakan zamanin sun shirya wani salo mai salo wanda ya faru a farkon ƙarni na 16-17. a cikin lamarin monody tare da rakiya. Kwanciyar hankali, daidaitacce, fasahar jituwa na P. cike da sabani na tarihi. Ƙwaƙwalwar fasaha. ra'ayoyin Renaissance a cikin saitin Counter-Reformation, a dabi'ance yana da iyaka a cikin batutuwa, nau'o'i da hanyoyin magana. AP ba ya watsi da ra'ayoyin ɗan adam, amma ta hanyarsa, a cikin tsarin nau'o'in ruhaniya, yana ɗauke da su a cikin wani yanayi mai wuyar gaske mai cike da wasan kwaikwayo. AP ta kasance mai ƙididdigewa a cikin mafi mawuyacin yanayi don ƙirƙira. Don haka, tasirin P. kuma tsohon waƙarsa na tsattsauran rubuce-rubuce a kan mutanen zamani da mabiya ya yi girma sosai, musamman a Italiya da Spain. Katolika. Ikklisiya, duk da haka, ta zubar da jini tare da lalata salon Falasdinu, ta mai da shi daga tsarin rayuwa zuwa al'adar mawaƙa. da cappella music. Mabiya mafi kusancin P. su j. M. da J. B. Nan, F. da J.
Daga cikin Op. P. - fiye da talakawa 100, kimanin. 180 motets, litanies, yabo, zabura, offertorias, magnificats, ruhaniya da na duniya madrigals. Sobr. op. P. ed. a Leipzig ("Pierluigi da Palestrinas Werke", Bd 1-33, Lpz., 1862-1903) da kuma Roma ("Giovanni Pierluigi da Palestrina. Le Opere Complete", v. 1-29, Roma, 1939-62, ed. yaci gaba).
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TH Solovieva
