Реалізація basso continuo як аспект концертмейстерської практики

Abstract

У статті коротко оглянуто первинні та вторинні джерела, в яких можна знайти інформацію з теорії і практики цифрованого басу. Розглянуто деякі ключові принципи розшифрування basso continuo й безпосередньої його реалізації. Порушене питання ансамблевих принципів та стилістики виконання барокового акомпанементу в традиціях різних національних клавірних шкіл того часу. Виконано загальний аналіз двох основних типів існуючих готових реалізацій basso continuo та їх порівняння з позиції автентичності.

В статье произведен короткий обзор первичных и вторичных источников, в которых можно найти информацию относительно теории и практики цифрованного баса. Рассмотрены некоторые ключевые принципы расшифровки basso continuo и его непосредственной реализации. Затронут вопрос ансамблевых принципов а также стилистики исполнения барочного аккомпанемента в традициях разных клавирных школ эпохи. Произведен общий анализ двух основных типов существующих готовых реализаций basso continuo и их сравнение с позиции аутентичности.

Basso continuo is a specific baroque theory and practice that gave the beginning to the classical harmony and became a mould for the letter-figural system of writing chords in jazz. The term “basso continuo”, or thoroughbass was founded in 16th century. In general it means the system of reduced notation that contains clear and ciphered notes. The main rules of deciphering this “coded music” and it’s stylistic features we can find in baroque tractates (the most popular are: Anweisung zu vollkommener Erlernung des General-Basses by J. D. Heinichen (1711), L’Armonico Pratico al cimbalo by F. Gasparini (1708), Nouveau Traité de l’accompagnement du clavecin, de l’Orgue, et des autres instruments by M. Saint-Lambert (1707), Kurze Anweisung zum Generalbass-Spielen by G. Turc (1791), and many others. The main principles of thoroughbass realization are: 1. The figure in basso continuo score always means the interval from bass note (the most characteristic interval in the chord, as an example 7 – seventh-chord, 5 or 3 – basic chord, 6 – sixth-chord, 9 – ninth-chord). If some notes are left without figure, it can be harmonized with basic chords or be left as passing tones. 2. The alteration near the figure shows which tone changes. If the sharp or flat stays separately, it means the alteration of the third. The crossed out figure means diminished or augmented interval ( - diminished fifth, diminished triad, or the second inversion of the dominant seventh-chord; - augmented fourth or second-chord; - petíte accord – the third inversion of the dominant seventh-chord). The main voice-leading in rules baroque accompaniment are: 1. Two voices must never move in parallel octaves or fifths. That’s why the contrary motion is desirable. 2. The chords must be played as near to each other as it possible to avoid illogical leaps. 3. All dissonances must be prepared and resolved. This rule refers to sevenths, seconds, tritons, suspended fourths and ninths. The main ensemble principles in thoroughbass are: 1. The accompaniment must never double the lid voice. The continuo part has a complimentary function. It concerns the rhythmic organization as well as number and placement of voices. 2. Number of voices in accompaniment and type of texture depends on soloist’s dynamics and expression. 3. Diminution should be applied reasonably. It must supplement the solo part and not to be overloaded with virtuoso progressions or ornaments. There is some stylistic difference between French and Italian styles of playing thoroughbass. French clavier music has a lute roots. That’s why it has very sophisticated ornamentation, well-developed polyphony and the specific complex of performing features concerning touché and methods of arpeggiating chords. The Italian tradition is more clear and simple. It intended on immediate performing. This feature related with big popularity of opera in Italy in that time. For playing such giant piece of music required to performer not to pay attention to details, as he did in miniatures. There are some editions of baroque scores that offer finished realization of basso continuo. Sometimes they look like transcriptions, and lay very far from style of composer and his epoch. Sometimes they are more objective and trying to save the original figuring and not overload a score with spare notes. But with position of authentic performance, the priority must be given to self-made realization of basso continuo, because it gives the ability to performer to realize his fancy and to bring a drop of improvisation into his performance.