Ivan Jarnović / Giovanni Giornovichi

14. koncert za violinu i orkestar u A-duru, klavirski izvadak
Fourteenth Concerto for Violin and Orchestra in A major, Piano Reduction

Gazophylacium musicae croaticae, br. 10
Hrvatsko muzikološko društvo / Croatian Musicological Society, 2016.

Glavna urednica / Editor-in-Chief: Vjera Katalinić
Priređivač klav. izv. / Revised by: Zoran Juranić
Klavirski izvadak

Predgovor / Preface: Vjera Katalinić
Giovanni Giornovichi (Giarnovichi, Jarnovik, Zarnovitty, Žarnovik itd., u danas često korištenoj hrvatskoj inačici kao Ivan Jarnović) bio je jedan od najistaknutijih i omiljenih violinskih virtuoza druge polovice 18. stoljeća. Kršten je u Palermu 29. listopada 1747. iako je, prema inačicama prezimena, vjerojatno hrvatskog porijekla. Koncertirao je u svim najznačajnijim prijestolnicama među kojima su Pariz, London, Dublin, Beč, Berlin, Stockholm, Kopenhagen i Petrograd – gdje je umro 1804. godine.
Njegov 14. violinski koncert, još u 18. stoljeću objavljen u dionicama, ali i kao sonata za klavir i violinu, bio je često izvođen i neobično popularan zbog korištenja ruskih tema. Svaki od tri stavka u tome djelu nose neke značajke koje ga čine posebnim, što je publika na njegovim nastupima obično dobro prihvaćala. Za razliku od uobičajenih herojskih tutti početaka, prvi sonatni Allegro nastupa kao solo i u piano dinamici s melodijskom temom, a tutti ansambl se priključuje u njezinom drugom dijelu. Slijedeći taj model čitava je prva ekspozicija temeljena na dijalogu između solista i pratnje. Druga je ekspozicija „pravi solo“, koji obilježavaju razvijene teme i pasaže, koje diskretno podupiru akordi pratnje. Nakon virtuoznog srednjega dijela, repriza počinje kao tutti, ali u vrlo tihoj dinamici, no crescendom ju razvija prema kraju stavka. Polagani stavak Amoroso con expressione (u francuskoj inačici) ili Romance (u britanskoj) započinje citatom ruske narodne melodije Как у нашего широкого двора (Kao na našem širokom dvorištu), napjev koji je V. F. Trutovski objavio 1778. godine u drugom svesku svoje zbirke ruskih narodnih pjesama, a korištena je i u ranim ruskim scenskim djelima toga razdoblja. Temu u trećem stavku – Air russe – moguće je identificirati kao popularnu Kamarinskaju  (Камаринская) – napjev koji su koristili i neki drugi skladatelji. Joseph Haydn, jedan od njih, uključio ju je u svoj stavak Andante cantabile za mehanički instrument Die Flötenuhr (Hob. XIX/4) 1772. godine.
U suvremenom je izdanju ovaj koncert tiskan 2013. godine (partitura i dionice, s opširnijim predgovorom), a sada je tome pridodan i klavirski izvadak.

Giovanni Giornovichi (Giarnovichi, Jarnovik, Zarnovitty, Žarnovik etc., in the Croatian version frequently used today as Ivan Jarnović) was one of the most prominent and favourite violin virtuosi of the second half of the 18th century. Baptised in Palermo on 29 October 1747, according to the versions of his family name, he was probably of Croatian origins. He gave concerts in all major European capitals, like Paris, London, Dublin, Vienna, Berlin, Stockholm, Copenhagen and St Petersburg – where he eventually died on 23 November 1804.
His Fourteenth Violin Concerto, published in parts as well as a sonata for piano and violin already in the 18th century, was often performed and especially popular because of the use of Russian themes. Each of its three movements bears some characteristics that make the concerto exceptional, which was usually well-received by the audiences at his public concerts. Contrary to usual heroic and tutti commencements, the first sonata-Allegro movement starts as a solo, in piano dynamics with a melodious theme, and the tutti ensemble joins it in its second part. Following that model, the entire first exposition has been based on a dialogue between the soloist and the accompaniment. The second exposition is a “real solo”, marked by elaborated themes and passage works, only delicately supported by chords in the accompaniment. After a virtuoso central section, the recapitulation starts as a tutti one, in low dynamics, but with a crescendo towards the end of the movement. Giornovichi starts his slow movement Amoroso con expressione (in the French version) or Romance (in the British one) with a citation of the Russian folk tune Как у нашего широкого двора (Like in our wide yard), a tune published in the second volume of V. F. Trutovsky’s collection of Russian folk tunes in 1778. It was also used in some early Russian stage works of that time. His theme in the third movement – Air russe – can be recognised as the popular Камаринская (Kamarinskaya) – a tune also used by some other composers. Joseph Haydn, one of them, incorporates this tune in his movement Andante cantabile for the mechanical instrument Die Flötenuhr (Hob. XIX/4), in 1772.
This concerto was issued (as score and parts, together with a wider foreword) in 2013, and is here supplemented by a piano reduction.

(Predgovor/Preface: Vjera Katalinić)

2016.
ISMN 979-0-9005206-9-2
50,00 kn + poštarina