《西方文明中的音乐》第十章 巴洛克 摘抄2018.1.24

 
The first products of this new, more intimate music that we call chamber music are to be found in the works of Salomone Rossi (1587-1628), a musician of Jewish origin who himself always added “Ebreo” to his name. A colleague of Monteverdi in Mantua, he was one of the first to realize the significance of a true instrumental style, creating little master pieces in his three-part “sonatas,” which ushered in the new form of instrumental ensemble music, the trio sonata. An alert musician, Rossi was engaged in all forms and varieties of musical composition, but the next important figure to consider, Biagio Marini (c. 1597-1665), was a bona fide chamber music composer, and perhaps the first professional violin virtuoso among composers. The great variety of his published compositions that appeared between 1617 and 1655 mirrors the whole transition from the imitation of vocal music to genuinely instrumental forms.

我们称之为室内乐的这一新的更亲切的音乐的最早的成果见于萨洛莫内·罗西（1587—1628年）的作品，他是犹太人，自称时总冠以“犹太人”（Ebreo）一词。他是蒙特威尔第在曼图亚的同事，是第一个意识到真正的器乐风格的意义的人，他写的三声部“奏鸣曲”中不乏小小的杰作，引入了一种新型的器乐合奏：三重奏鸣曲。罗西是以为警觉的音乐家，创作各式各样的乐曲。但是，下一个重要的任务比亚焦·马里尼（约1597—1665年）是真正的室内乐作曲家，或许还是作曲家中第一个专业小提琴家。1617—1655年间出版的大量作品反映从模仿声乐过渡到真正的器乐的整个过程。

作曲家：

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Salamone Rossi (1587-1628) was an Italian Jewish violinist and composer. He was a transitional figure between the late Italian Renaissance period and early Baroque.

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Biagio Marini (1596–1636)was an Italian virtuoso violinist and composer in the first half of the seventeenth century.Although he wrote both instrumental and vocal music, he is better known for his innovative instrumental compositions.He contributed to the early development of the string idiom by expanding the performance range of the solo and accompanied violin and incorporating slur, double and even triple stopping, and the first explicitly notated tremolo effects into his music. He made contributions to most of the contemporary genres and investigated unusual compositional procedures, like constructing an entire sonata without a cadence (as in his Sonata senza cadenza).