Light, bright, and cheerful. It's some of the most familiar of all early 18th century music. It's been featured in uncounted films and television commercials, but what is it and why does it sound that way?
Yengil, yorqin va quvnoq. XVIII asr boshining eng tanish navolaridan biri. Uni sanoqsiz filmlar va reklama roliklarida eshitish mumkin. ammo bu qanday musiqa, va nega u shunday yangraydi?
This is the opening of "Spring" from "The Four Seasons," by Italian composer Antonio Vivaldi. "The Four Seasons" are famous in part because they are a delight to the ear. However, even more notable is the fact that they have stories to tell. At the time of their publication in Amsterdam in 1725, they were accompanied by poems describing exactly what feature of that season Vivaldi intended to capture in musical terms. In providing specific plot content for instrumental music, Vivaldi was generations ahead of his time.
Bu italyan bastakori Antonio Vivaldi qalamiga mansub "To'rt mavsum" dan "Bahor" konsertining kirish qismi. "To'rt fasl" ko'proq eshituvchiga o'zgacha zavq bag'ishlagani tufayli mashhur. Ammo yanada diqqatga sazovor haqiqat shundaki, ularning aytib beradigan hikoyalari bor. "To'rt mavsum" ning 1725 yil Amsterdamda nashr etilgan partiturasiga she'rlar hamrohlik qilgan va ular Vivaldining ayni faslga xos qaysi holatni tasvirlashini maqsad qilganligini hikoya qilgan. Cholg'u musiqasi uchun o'ziga xos mazmunli syujet yaratishda Vivaldi o'z davridan bir necha avlod oldinda edi.
If one were to read the poems simultaneously to hearing the music, one would find the poetic scenes synchronizing nicely with the musical imagery. We are told that the birds welcome spring with happy song, and here they are doing exactly that. Soon, however, a thunderstorm breaks out. Not only is there musical thunder and lightning, there are also more birds, wet, frightened, and unhappy.
Agar-da kimdir musiqani eshitish bilan birga she'rlarni o'qiganida, u she'riy sahnalar va musiqiy tasvir o'rtasidagi ajoyib hamohanglikni payqagan bo'lardi. Qushlarning bahorni quvnoq kuy bilan qarshilashi haqida o'qir ekanmiz, ularning aynan shunday qilayotganini eshitamiz. Ammo keyinroq to'satdan momaqaldiroq boshlanadi. Biz nafaqat musiqiy chaqmoq va yashinni, balki qushlarni ham eshitamiz - ular nam tortgan, qo'rqqan va g'amga botgan.
In "Summer," the turtle dove sings her name "tortorella" in Italian, before a hail storm flattens the fields. "Autumn" brings eager hunters dashing out in pursuit of their prey.
"Yoz" da g'urrak o'z ismini italyan tilida kuylaydi - "tortorella", ammo bo'ron boshlanib, maysalar do'l ostida qoladi. "Kuz" g'ayratga to'la ovchilarning o'ljani quvlayotganidan so'zlaydi.
The "Winter" concerto begins with teeth chattering in the cold before one takes refuge by a crackling fire. Then it's back out into the storm where there'll be slips and falls on the ice. In these first weeks of winter, the old year is coming to a close, and so does Vivaldi's musical exploration of the seasons.
"Qish" konsertining kirish qismida kimningdir tishlari sovuqdan chayqalmoqda keyin u otashin olov oldida qo'nim topadi. Keyin yana bo'ron boshlanadi. Kimdir muz ustida sirpanadi va yiqiladi. Qishning dastlabki haftalarida eski yil o'z nihoyasiga yetmoqda, Vivaldi ham shu nuqtada o'zining mavsumlar bo'ylab sayohatiga yakun yasaydi.
Not until the early 19th century would such expressive instrumental program music, as it was known, become popular. By then, larger, more varied ensembles were the rule with woodwinds, brass, and percussion to help tell the tale. But Vivaldi pulled it off with just one violin, strings, and a harpsichord. Unlike his contemporary Bach, Vivaldi wasn't much interested in complicated fugues. He preferred to offer readily accessible entertainment to his listeners with melodies that pop back up later in a piece to remind us of where we've been. So the first movement of the "Spring" concerto begins with a theme for spring and ends with it, too, slightly varied from when it was last heard.
Qariyb XIX asrning boshlariga qadar bunday dasturga ega ifodali cholg'u musiqasi ommabop emas edi. O'sha paytlarda kattaroq ansambllar mashhur bo'lib, ular yog'och va mis puflama va zarbli cholg'ulardan foydalanishgan. Ammo Vivaldi uchun bitta skripka, torlar va klavesin yetarli edi. Zamondoshi Baxdan farqli o'laroq, Vivaldini murakkab polifonik fugalar qiziqtirmas edi. U bizga buni avvalroq tinglaganimizni eslatib turuvchi va doimiy takrorlanuvchi, tinglovchilar uchun oddiy va yengil bo'lgan navolarni ko'proq afzal ko'rar edi. "Bahor" ning birinchi qismi bahor kuyi bilan boshlanib, huddi shu kuyning ozgina o'zgargan shakli bilan yakunlanadi.
It was an inspired way to attract listeners, and Vivaldi, considered one of the most electrifying violinists of the early 18th century, understood the value of attracting audiences. Such concerts might feature himself as the star violinist. Others presented the young musicians of the Pietà, a Venetian girls' school where Vivaldi was Director of Music. Most of the students were orphans. Music training was intended not only as social skills suitable for young ladies but also as potential careers for those who might fail to make good marriages.
Bu -tingolvchi e'tiborini tortishning to'g'ri yo'li edi, va Vivaldi, XVIII asr boshining eng zabardast skripkachilaridan biri, ommani jalb etishning qiymatini yaxshi tushunar edi. Bunday konsertlarda u skripka chalish san'atining yulduzi edi. Ba'zida unga "Pieta"ning talabalari hamroh bo'lgan. Vivaldi ushbu Venetsiyadagi qizlar maktabi musiqa ansambliga boshchilik qilgan. Ko'pchilik talabalar yetim bo'lgan. Musiqiy ta'lim nafaqat yosh xonimlar uchun mos ijtimoiy ko'nikma bo'lgan. Yaxshi oila qura olmagan qizlar uchun bu kelajakda mablag' manbai ham edi.
Even in the composer's own time, Vivaldi's music served as diversion for all, not just for the wealthy aristocrats. 300 years later, it's an approach that still works, and Vivaldi's music still sounds like trotting horses on the move.
Hatto bastakorning o'z davrida ham, Vivaldining musiqasi nafaqat zodagonlarni, balki hammani kundalik tashvishlardan chalg'itgan. 300 yil o'tsa ham hech narsa o'zgarmagan va hamon ham Vivaldining musiqasi yo'rtib yurayotgan otlardek yangraydi.