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发表于 2009-10-16 13:41
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原帖由 shenming 于 2009-10-16 9:32:00 发表
一般认为，巴洛克时代的结束是以巴赫辞世为标志的，6年以后，莫扎特降生的啼哭从萨尔萨堡传出，从此他的声音注定要响彻一切时代。音乐史上的古典时代确切地应该从何时算起？是莫扎特诞生的这一年吗？还是海顿诞生的那一年？又终于哪一年？是贝多芬辞世的那一年吗？一般我们说起古典时代，仿佛只有这三位大师似的，这期间还有许多其他人——他们的音乐也同样精彩，不应脱离我们的注意；我个人以为，古典时代应该从曼海姆乐派在乐坛 |
据晚生看到的说法，音乐史上的古典时代可能始于1720-1730年间的那不勒斯，这一时代的曙光之中最为绚烂夺目的新星大概是Leonardo Vinci(1696-1730)，如果认同Vinci等人创造的新风格是古典主义之源的话，那古典时代的起始年代不应晚于1730年，新格罗夫辞典所持即是此说，Vinci本传中有云： Almost all of Vinci’s surviving music is in opera or opera-related genres and consists of an alternation of recitative and da capo aria. It was principally in his arias that Vinci forged the new style which can be regarded as the beginnings of Classicism. His early works derive their style from his immediate predecessors in Naples, notably Sarro and Porpora. The origins of the new style can be detected first in the surviving arias of his final commedie of 1722–3, in the additional arias of his first drammi (1723–4) and, on a somewhat broader scale, in his settings of Stampiglia from 1724–5. This suggests that the new style was developed first in comic opera and gradually introduced into heroic opera, with the comic elements in Stampiglia allowing for a more consistent development.The new style was characterized by the periodic treatment of melody. Marmontel in his Essai sur les révolutions de la musique en France considered Vinci to be the originator of this new periodicity:
But the true moment of its glory was when Vinci first traced the circle of periodic song which in the pure elegant and polished design presented to the ear, as a period to the wit, the development of a thought completely rendered. Therefore this was when the great mystery of melody was revealed.
Whether or not Vinci was the first to trace ‘the circle of periodic song’, he was the first composer of international repute to cultivate the style consistently, to such an extent that it became associated with him and those who continued in this vein were regarded as his disciples.
Vinci’s periodic melody had its origins in the dance, and many of the arias in his early works are based on dances such as the minuet, passepied, bourée and gavotte. However, as F.-J. Chastellux pointed out, this new periodicity was not the static, dance-based periodicity of contemporary French music, but a new dynamic one that incorporated thematic development, almost like a fusion of traditional dance periodicity and Baroque Fortspinnung. This dynamic periodicity includes a third element, declamation. Not only is the theme generated from the opening line or couplet of the aria text, but each subsequent phrase is devoted to a line or couplet and delimited by a caesura or cadence. This poetically sensitive periodic melody is what Burney had in mind when he singled out Vinci for his ‘considerable revolution in the musical drama’:
Vinci seems to have been the first opera composer who … without degrading his art, rendered it the friend, though not the slave to poetry, by simplifying and polishing melody, and calling the attention of the audience chiefly to the voice-part, by disintangling it from fugue, complication, and laboured contrivance.
Burney’s reference to disentangling melody ‘from fugue, complication, and laboured contrivance’ refers to Vinci’s simple homophonic accompaniments, the other important element of the new style. The contrapuntal obbligato-style accompaniments of the late Baroque aria give way to accompaniments for four-part string orchestra which can be reinforced by oboes, horns or trumpets. The transparency of the accompaniment is further enhanced by doublings; during the ritornellos the violins play in unison, while in the vocal sections the violas double the basses at the octave and the first violins frequently double the voice. The most important aspect of this simplification is the increasing use of Trommelbass (steady repeated notes in the bass during periods of harmonic stasis). While this occurs sporadically in Vinci’s early operas, in his later ones it is used to a greater or lesser extent in almost all the arias. The device, a standard feature of the mid-century aria, undoubtedly contributed to the slowing of harmonic rhythm during the second half of the 18th century.
以上文字大致可以说明Vinci的音乐在旋律风格及和声结构等方面都已摆脱了＂巴洛克＂的窠臼，而古典时代音乐语言的若干基本特征也都已具备，所以可视为古典主义的＂开山之祖＂。曼海姆乐派的兴起是1740年之后的事，此时Vinci早已入土多年，即使德国的古典主义也不始于曼海姆，而始于德累斯顿，开风气之先的作曲家当是Hasse(1699-1783)，1722年至1731年间Hasse游学意大利近十年，其中大部分时间在那不勒斯度过，创作上自然深受Vinci等人的影响。1731年Hasse北归，极大地震动了德国乐坛，可以说传统巴洛克风格从此走向了末路（巴赫的音乐也越发不合时宜了），曼海姆，柏林等地的古典乐派都是在这一大环境下应运而生的，若要追根溯源的话，还是在Vinci那里。过去之所以“掩盖”这一段历史，也许和日耳曼人最终取得了音乐领域的话语权，又要维护其民族自尊有关，追溯到意大利人等于是“长他人志气、灭自家威风”，自是万万不可；便是以Hasse为初祖，仍然不能彻底斩断与意大利的联系，而且十九世纪以后Hasse名声一直不好，因为他的音乐虽然是＂国际性＂的，却毫无＂民族性＂可言，在心怀民族大义的评论家和史家，实属小丑败类之流；至于曼海姆，从师承上看与“外部反动势力”并无直接渊源，“偷师”“私淑”等行为查无实据，一概可以忽略不计，如此一来，不可谓不根红苗正，正本清源起见，缔造者的荣衔，当然非他们莫属了。
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