Ivan Jarnović / Giovanni Giornovichi

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

Gazophylacium musicae croaticae, br. 11
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 europskim prijestolnicama među kojima su Pariz, London, Dublin, Beč, Berlin, Stockholm, Kopenhagen i Petrograd – gdje je umro 23. studenog 1804. godine.
Ovaj trostavačni koncert br. 13 u A-duru u mnogome je obilježen značajkama Jarnovićevih skladateljskih postupaka, ali ima i nekih posebnosti. Prvi stavak, uobičajene sonatne sheme s četiri različite teme (dvije glavne, a između njih po jedna nova u tutti i solističkoj ekspoziciji) od kojih se dvije glavne ponavljaju u reprizi, trodjelne je mjere, što je suprotno uobičajenim, gotovo herojskim temama parne metrike. Stoga stavak više podsjeća na živahni plesni korak (doduše prebrz za menuet), a možda čak i na kakvu odlučnu narodnu pjesmu poput škotske Thomas the Rhymer. Nakon romance, kojoj bi se lako mogao pretpostaviti vokalni predložak kakve uspavanke, neposredno slijedi rondo attacca. Vjerojatno je najneobičniji u ovom koncertu završetak tog žustrog stavka, čija tema podsjeća na signal poštanskog roga s tri kontrastne epizode. Na kraju, naime, solist ponavlja početni motiv teme u sve tišem registru isprekidan fortissimo akordima pratnje te završava toničkim kvintakordom, ali na kvinti, što nedvojbeno izaziva dojam očekivanja nastavka. Je li taj nastavak bio Jarnovićeva najava nove priredbe, ili je – što su novinski izvještaji dali naslutiti – virtuoz u nastavku dodao neku temu s varijacijama? Takvih Jarnovićevih malih solističkih komada uz pratnju continua sačuvano je mnogo, a upravo dominiraju oni u A-duru. Moguće je, naravno, da je Jarnović na licu mjesta improvizirao na neku drugu popularnu melodiju.
U suvremenom je izdanju ovaj koncert tiskan 2015. 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.
This concerto no. 13 in A major in three movements again shows the typical characteristics of Giornovichi’s compositional procedures, but also brings some novelties and specialties. The first movement of the usual sonata form – with four different themes (two major themes and between them a new one in the tutti and solo exposition respectively) and only two main themes presented in the recapitulation – is in triple metre, in contrast to all of his other first movements which are in a heroic duple metre. Therefore, the movement evokes a lively dance rhythm (although too fast for a minuet), or even some folk tune like the Scottish song Thomas the Rhymer. After the moderately-paced movement – a Romance, to which could easily be attributed a vocal source of some lullaby – immediately follows (attacca) a vivid Rondo with a theme that recalls the signal of a post horn. Probably the most unusual part of the concerto is its ending: the soloist repeats the initial motive in the increasingly soft dynamics, interrupted by the loud chords of the accompaniment, and finally ends the concerto on the fifth of the tonic chord, which might have led the audience to expect him to continue the piece. Was such an effect actually Giornovichi’s announcement of a new concert performance? Or, did the virtuoso then actually add a theme with variations, a sort of an encore? Such small variations on popular tunes for violin and basso are quite numerous in his output, and those in A major are the most prevalent. However, it is also possible that Giornovichi improvised on the spot, using some other popular tune.
This concerto was issued (as score and parts, together with a wider foreword) in 2015, and is here supplemented by a piano reduction.

(Predgovor/Preface: Vjera Katalinić)

2016.
ISMN 979-0-9005206-8-5
100,00 kn + poštarina

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