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
