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| タイトル | ： Re^6: La SerenissimaのFacebook |
| 投稿日 | ： 2020/05/06(Wed) 22:13 |
| 投稿者 | ： カーザヴェーチャ |
通りすがりさん、大変お待たせ致しました。アメリカのウィッテンバーグ大学で教鞭をとっている長年の友人が、
吃音や言い直しや尻切れトンボまでがまじる、大変癖の強いブリティッシュ英語を大変な苦労をして文字起こし
してくれました。ご存知のように、アメリカは新型コロナウィルスが猛威をふるっているため、授業はすべてPCを
使っての遠隔講義とのことで準備に手間取り、すっかり待たせて申し訳なかったとメールに言い添えられていました。
[ ]内はアメリカ人の友人でさえよく聞き取れなくて、自信がない部分だそうです。まずはチャンドゥラーの
Youtubeを使ったレッスンと聞き合わせてお読みください。お寄せいただいたご質問への答は追って書き込みます。
I did not transcribe all of his disfluencies, because he has a LOT of disfluencies and it didn’t seem
that they were too important to your purposes. I used square brackets [ ] to indicate speech that
I was not entirely certain that I heard correctly. I used pointy brackets < > when I’m adding
a comment, myself.
Transcription of April 1
Good afternoon, everybody! Uh, yesterday we were looking at, uh, RV 263, concerto in E major, all finished.
Um, it was a real nightmare to put in, ‘cause there were so many little grace notes and things. Uh, but all
done now. Um, as I was saying yesterday, uh, I knew the version of this concerto from opus 9, but I
didn't know the manuscript version of the concerto; it's quite interesting. If we have a look, uh, at,
uh, some of the corrections that Vivaldi was making, um, uh, towards the end of the first movement, um,
he inserted, um, a sheet of paper, and, uh, produced a, a sort of edited version of what he’d originally
written. Um, so, uh, here we go, along here, uh and then he says, go to, go to the, go to the insert,
which is, which is there, then he says, um go, go to the end, uh, which is there, the the final, written
over the first movement stands as, as he'd originally written it. But um, just for a v− um, out of interest
I, I decided to have a look at what he had had originally written. We have this sort of idea, a sort of
romantic idea of a composer who, who uh composes something and then has, has divine inspiration and then
goes back and crosses it out and then produces the ultimate, uh,version. But with Vivaldi that’s not,
that's not really how it worked. I mean often, uh you find, uh, changes to concertos, uh, possibly
because he was written for a-- he wanted to use it for a different occasion, or maybe he had a
different soloist in mind, um, and maybe that soloist had, uh, was particularly good at doing one
thing and not another, for instance, but, um, the, this original version of, of the end of the, of the
movement was quite interesting. Uh, it's got some really nice harmonic twists in it. Um, didn’t--
I was a bit perplexed, um, for a while because some of the accidentals didn't make place, um, didn't,
didn't um, didn't make sense, uh, and then I saw underneath this bit of scribbling out here− oh,
but that's actually, he's uh, he's changed from, uh, E major to E minor, that took me a little while to
notice that one, uh, or to see what he’d done, and then goes back to E major there. Um, as I say,um,
it's well worth doing, uh, what he had originally written.Um, brilliant first movement. Um, second
movement is very nice. But you can see,uh, maybe things weren't going quite as well as he, uh, as,
as he had hoped. Um, for instance, there seems to be, uh, some confusion as to what he, um, he,
he seems to be, uh, in two minds as to what exactly he wants with the instrumentation here. He'd
originally written violins only, playing the bass, and then he changed his minds, uh, his mind to
violins and violas. Uh, this is tutti, Again, he had had originally written violin, violini soli,
violins alone, and then he scrubbed that out and wrote violins and violas alone, and then at the end,
he'd originally written a bassi soli, so just the basses alone, and then crossed his, uh changed
his mind, crossed that out, and wrote tutti. Now, then we have, um, uh, the finale, um, which, uh
Vivaldi composed, and apparently, but of, from looking at the manuscript, he appears to have gotten
a little bit stuck. Um, there are uh several places, um, in this manuscript which don't particularly
work very well. Um, and Vivaldi seems to have been, uh, aware of this himself. In fact right here,
we can see that he's tried to sort out one of the problems by sticking, um, a leaf, uh, a little piece
of paper, over what he'd originally written. And there are lots and lots and lots of crossings out,
that just, it just kind of feels, uh, to me as if Vivaldi wasn't having a particularly great day.
Um, which may explain therefore why the concerto that appears in the opus 9, which is a brilliant concerto,
the last movement, is actu-- actually works really well, because it was freshly composed. So there you go,
that's uh 263. Um, maybe we should give, give all our concertos an aid rating, uh, so I'll probably
say that out of 10, that probably scores about 5, because the last movement's a bit, a bit disappointing.
First movement’s brilliant. Second movement’s good. Last movement: aww, he's let himself down
a little bit, hadn’t he. Oh, never mind. But he did write some 250, so you've gotta have a bad day
occasionally. So now we're looking at, um, a concerto in E minor, this one RV 273. Um, again, autographed
from Turin. Um, I'm guessing, uh, that this, uh, is a very late, a very late concerto. Interestingly,
um, he actually includes some figures in the bass part, which is quite unusual. Uh, this is very, very rare
for Vivaldi, to put those, those, and you can just see down at the bottom there you've got some 7, 7# sharp[s].
Um, and the other thing is, uh, there are a couple of places in the manuscript where he writes in the manuscript
“senza cembali”, which means “without harpsichords”. Um, now, it's uh, the fact that he specified harpsichords
in the plural possibly means that this was written for use in the theater, as an entr'acte concerto, for instance,
uh, where you definitely had two harpsichords, um, most, most of the time in concerts and stuff, unless you were
the emperor, um, Charles VI, you probably just had one, uh 'cause you were trying to, trying to save money.
But, uh, yeah. So this is possibly a concerto written for the theater. My hunch is that, um, it's gonna be a
cracker, uh, certainly, I mean, having a quick look through. And interestingly down here there's uh, there's
a chord sequence that mostly one only finds in Tartini's music. Uh, I'm,I'm sure Vivaldi has used it
before, but I can't uh, remember uh, uh, a sequence, a sort of Tartinian sequence like this that I've
noticed before. So maybe that also marks it out as being quite a late, uh, concerto. So just have
a quick butchers at the opening movement, uh… There we go. <music plays> So there you go. Uh, that's
my task for today. Um, I've got a good feeling about this one, I think this could be a real cracker.
Certainly E minor seems to be a key that uh inspired Vivaldi greatly. A lot of the uh, pieces that we've done,
uh, parti-- [of a] concerto a few years ago, RV 2 certainly absolutely brilliant. Uh, so, looking forward to this.
Uh, see you tomorrow. Cheers!
Transcription of April 6
Good morning every−or, afternoon, actually, it's twenty past two, uhm, uh… We finished last week
with, uh, one of the uh “Stravaganza” concerti, uh, number 12 in G. Uhm, uh, interesting title mark
at the beginning of the Spiritoso e non presto, um, kind of a [telemark] you sort of find in uh, earlier
Vivaldi, um, concerti. Um, it's an interesting one, the second movement in particular, um, reminds me
very much of the slow move into, uh, the 9th concerto in L'Estro Armonico. I do wonder whether this
concerto might possibly have been, um, composed earlier than the publication of opus 4. So that’s that.
Uh, number 12 [down/done]. It’s quite−it's a good piece; I think we'll probably give it an 8 or 18 of… 8, 8.
I [think we'll] give it 8. Uh, lots of uh, sort of fast, um, tricky, [surely] passages, well, tricky for,
tricky for 17-- uh, early, early 1700s. Nothing like the um, technical virtuosity required from his
later concerti. However, uh, okay so moving on, we’ve done G major, uh, next comes G minor. Now, the first,
uh, concerto in the G minor concertos in the catalog is actually "Summer", and I'm, I'm gonna leave
"The Seasons", um, for a bit because, well, we’ve, we’ve done them, we’ve recorded them, and, you know,
maybe I'll go back and, and do, do a proper edition at some point, but I think we’ve got, uh, you know,
I think we all know how those go. Um, so the next G minor concerto in the catalog is actually, funny
enough, another concerto from "Stravaganza". This one is number 6 in the set, um, uh, it's a very,
very beautiful one in G minor. It's got some interesting things, uh, for instance in the opening tutti
the first violin splits with, uh, the first ripieno violin, um, something that we've seen once before,
um, in an E min-- oh no, D minor concerto 235, so far. Um, other things like the appearance of extra
little solos for, um, where are we, uh, for ripieno violins, um, uh, and, and also viola. Um, one of
the things I was talking about last week was the, uh the forces that Vivaldi might have had to work
with when playing, um, his concertos. I think probably the greater part, certainly of his violin concertos
were written either for the pieta, or for theatrical purposes, as on-track concertos to be played
between the acts of um op- operatic performances. As such, uh, I think Vivaldi would have expected
a larger string band than one to a part, um, certainly the [work/well], one of the, uh, directions in
one of the scores we found last week said, uh, mentioned violini primi and secondi, i.e., plural violins.
Um, here, in the opus 4, it's interesting that in the, the little solos that come [in] the first violin
and the second violin part, um, --- there’s the second violin part, oh uh, oh, I haven't actually put solo;
I need to do that -- uh, Vivaldi doesn't [he] makes them as solo, but he doesn't do it with the viola,
when, in, in the same instance. I do wonder whether Vivaldi might have expected therefore to have a
relatively small band, but with more than one, um, uh, tutti violin 1 and tutti violin 2 part, but just
one viola. Possibly. Um, I think, um, it's possible, again, that this was written uh before the publication
date of, of Stravaganza, um, possibly, uh, possibly written for church… purposes. Maybe. I can see why
Bach, uh, chose this concerto, uh, to, uh, arrange it for keyboard. Interestingly, the Bach version
of this, uh, of this concerto, uh, is, uh, contains a different finale. And, um, I do wonder whether
maybe it was a manuscript that Pisendel had taken back from Venice, maybe, uh, having copied it from
Vivaldi's stash. Um, uh, like oh, for instance, in the concerto we were looking at at the end of last week,
uh, there is a Pisendel manuscript for that piece which also has some sketches for different ornamentation
and things like that, so maybe we'll get a chance to look at that at some point. So um, uh, we're just
going to give you a blast of the tutti. <music plays> There you go. So, uh, that was opus 4, number 6.
Um, I should just mention that it’s uh, General Manager [Mick] Miller's birthday today. He's 21 again,
so, uh, if you wanna leave any messages of happy birthday,feel free to do so, and, uh, even better,
if you wanna donate uh to our crowd fund, uh, it would be great, uhm, 'cause all the musicians have
uh lost their jobs, uh, pretty much for the rest of the year, by the looks of it, so, yeah, all looking
great. Anyway, um, see you tomorrow with another concerto. Bye!