Title Preludiji bez uporabe metra u čembalističkom opusu Louisa Couperina Title (english) Louis Couperin's Unmeasured Preludes for Harpsichord Author Dubravko Ćepulić Polgar Mentor Pavao Mašić (mentor)Granter University of Zagreb Defense date and country 2024-06-17, Croatia Scientific / art field, FIELD OF ART Abstract U ovome radu nastojat ćemo promotriti čembalistički opus Louisa Couperina, značajne skladateljske osobnosti ranoga francuskog baroka, s posebnim naglaskom na dio njegova opusa koji čine preludiji bez uporabe metra. Riječ je o jedinstvenom tipu preludija nastalih na tragu lutnjističkih improvizacija, karakterističnom za francuske skladatelje baroka. Svrha ovoga rada ogledat će se u odgovorima na pitanja kako ovi preludiji mogu pomoći čembalistima u usavršavanju njihova sviračkog umijeća, kao i na koji način mogu koristiti širem krugu glazbenika u upoznavanju složena jezika francuskog glazbenog baroka, jezika još i danas mnogima punog nepoznanica.
Predmet ovoga rada poseban je po tome što je većina izvora na engleskome i francuskom jeziku, zbog čega sâmo istraživanje iziskuje strpljivo prevođenje s engleskoga i francuskog jezika kao i traženje izvora na drugim jezicima radi usporedbe i provjere podataka. Olakšavajuća okolnost jest malobrojnost izvora, kako o Louisu Couperinu, tako i o preludijima bez uporabe metra, te stoga izostaje opasnost gubljenja u mnoštvu podataka. S druge strane ta ista malobrojnost izvora uvelike otežava istraživanje, često isključujući mogućnosti potvrde vjerodostojnosti jednoga izvora podatcima iz drugog izvora. Primijenit ćemo metode raščlambe i zaključivanja, usporedbe i isključivanja, te analize različitih notnih primjera.
Rad započinje prikazom profesionalnoga puta Louisa Couperina, s usputnim osvrtom na povijesni kontekst njegova djelovanja, članove njegove obitelji koji su djelovali kao profesionalni glazbenici, te njegove pokrovitelje. Nadalje, prikazano je njegovo stvaralaštvo na području glazbe za čembalo, dok je središnji dio rada posvećen različitim poimanjima preludija kao oblika u opusima njegovih suvremenika, te su usporedno prikazani svi do danas poznati preludiji bez uporabe metra (kako oni tiskani, tako i oni sačuvani u rukopisima). Usporedit ćemo rukopisne izvore u kojima se nalaze djela Louisa Couperina, a nakon toga i raščlaniti preludije bez uporabe metra na primjerima triju najpoznatijih, danas najizvođenijih preludija.
Naposlijetku, posvetit ćemo se izvođačkoj praksi i interpretaciji preludija bez uporabe metra, s osvrtom na uvriježene konvencije izvođenja ove glazbene vrste. Posebno ćemo se osvrnuti na različita mišljenja glazbenih stručnjaka koji su su u svojim istraživanjima bavili interpretacijom iz nesvakidašnjeg notnog zapisa ovih skladbi.
Moglo bi se zaključiti da analiza preludija bez uporabe metra Louisa Couperina i istraživanje njihove uloge i utjecaja na djela drugih skladatelja može pružiti ishode koji su od višestruke koristi. Osim što ćemo dobiti uvid u primjere rijetke glazbene vrste, usko povezane s umijećem improvizacije, promotrit ćemo glazbene obrasce i klavijaturne (čembalističke) geste svojstvene francuskom glazbenom baroku, a konačno i ustanoviti njihovu važnost i neupitnu korist u širokom spektru znanjâ i vještinâ koje čembalistički zanat podrazumijeva.
Abstract (english) In this paper, we will try to examine the harpsichord oeuvre of Louis Couperin, a significant compositional personality of the early French Baroque, with a special emphasis on his works known as unmeasured preludes, a unique musical type very rare in the history of music, whose founder is considered to be Louis Couperin himself. The purpose of this research will be reflected in the answers to the questions of how this type of composition, specifically in the notation of the aforementioned composer, can help harpsichordists improve their playing skills, and how it can be used by a wider circle of musicians in getting to know the complex language of French musical baroque, a language that even to this day many of them often find distant and enigmatic.
The subject of this research is special in that most of the sources are in English and French, which is why the research itself requires patient translation from English and French as well as searching for sources in other languages in order to compare and verify the data. A mitigating circumstance is the small number of sources, both about Louis Couperin and about the unmeasured preludes, which therefore eliminates the danger of getting lost in the multitude of data. On the other hand, the same small number of sources greatly complicates the research, often excluding the possibility of confirming the credibility of one source with data from another source. We will apply the methods of analysis and inference, comparison and exclusion, and analysis of different musical examples.
At the beginning of this work, there is an attempted presentation of the professional path of Louis Couperin, with a passing reference to the historical context of his career, his musician relatives and his patrons. Furthermore, we will try to single out the most important, that is, the most performed works for the harpsichord from his large oeuvre, attaching musical examples of the pages of certain works. Then we will try to gain an insight into the different conceptions of prelude as a form, from the pen of Couperin's contemporaries and present in a table all the known unmeasured preludes, both the printed ones and the ones preserved in manuscripts. We will compare the manuscript sources in which Couperin's works are found, and then analyze the unmeasured preludes on the examples of the three most famous, that is, most performed preludes.
Finally, we will devote ourselves to the performance practice and interpretation of the unmeasured preludes, turning our attention to the established rules and ways of performing this type of music. In particular, we will refer to the different opinions of music experts who focused their research on the interpretation of the unusual musical notation that is present in the mentioned works.
Keywords
preludiji
čembalo
Louis Couperin
Keywords (english)
preludes
harpsichord
Louis Couperin
Language croatian URN:NBN urn:nbn:hr:116:704235 Study programme Title: Integrated Undegraduate and Graduate University Study Programme for Instrumentalists; specializations in: Flute, Oboe, Clarinet, Saxophone, Bassoon, Horn, Trumpet, Trombone, Tuba, Percussion, Harp, Violin, Viola, Guitar, Piano, Organ, Harpsichord, Euphonium, Tamboura, Violoncello, Double Bass Type of resource Text File origin Born digital Access conditions Access restricted to students and staff of home institution Terms of use Created on 2024-06-21 19:48:34
