《西方文明中的音乐》摘抄 第十章 巴洛克 7&8

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选自Giovanni Gabrieli最著名的一部作品《圣乐交响曲》、这部曲集作于1597年，包含有经文歌、弥撒曲和协奏曲风格的乐曲。这部作品也包含了强弱互见的奏鸣曲，以两个四声部的管乐演奏团体进行编曲，至今仍是常被演奏的铜管作品。

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Within the great current of the baroque we can distinguish an ever-increasing prevalence of popular motives and a romantic tendency, which, while originating in the baroque, harks back to the romanticism of the Middle Ages. In Italy the knightly romances reappeared at the very beginning of the baroque, and epic poems, long and tedious, flourished again. The spirit of literature became depleted and too intellectual. Bold and creative inspiration gave way to complicated and artificial rhetoric. 
 
      在巴洛克的滚滚浪潮中，可以看出民间动机和浪漫倾向的增长，虽出现于巴洛克，却可回溯至中世纪的浪漫主义。巴洛克一开始，骑士传奇就在意大利重新抬头，长而乏味的史诗重新繁荣。文学的精神变得空虚而过分理智。大胆的创作灵感让位于复杂而做作的修辞。

By transmitting the technique of polychoral writing to instrumental ensembles, Gabrieli laid the foundation of the modern orchestra. His instrumental writing cannot be called “orchestration” in our modern sense, but the purposeful grouping of instruments and the use of specific instrumental coloring was definitely his aim. It is not so much the exact voice leading, the design, which rules these works, but color, and the color palette of Gabrieli’s orchestra recalls the worm, golden, rich, and transparent colorit of his fellow Venetian, Titian.
 
     加布里埃利①把写作复式合唱的技巧用于写作器乐合奏，从而打下现代乐队的基础。他的器乐写作不能叫做我们现代意义的“配器”，但他的目的肯定是把乐器有目的地组合，并运用器乐的色彩。不是统治这些作品的具体声部进行（也即布局），而是色彩，是加布里埃利的乐队调色板，令人联想到他的威尼斯同胞提香的温暖、灿烂、浓郁而透明的色彩。

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①Giovanni Gabrieli (c. 1554/1557 – 12 August 1612) was an Italian composer and organist. He was one of the most influential musicians of his time, and represents the culmination of the style of the Venetian School, at the time of the shift from Renaissance to Baroque idioms.