UJean-Marie Leclair |

UJean Marie Leclair

Umuntu usengathola ama-sonatas ngomdlali wevayolini waseFrance ovelele engxenyeni yokuqala yekhulu lesi-XNUMX, uJean-Marie Leclerc, ezinhlelweni zabadlali beviyolini bekhonsathi. Ikakhulukazi eyaziwa ngokuthi i-C-minor eyodwa, enesihloko esingezansi esithi "Inkumbulo".

Kodwa-ke, ukuze uqonde indima yayo yomlando, kuyadingeka ukwazi indawo lapho ubuciko be-violin baseFrance bathuthukiswa khona. Isikhathi eside kunakwamanye amazwe, ivayolini yahlolwa lapha njengensimbi ye-plebeian futhi isimo sengqondo ngayo sayichitha. I-viola yabusa empilweni yomculo yezicukuthwane. Umsindo wayo opholile, ongacacile wazanelisa ngokugcwele izidingo zezicukuthwane ezidlala umculo. I-violin yakhonza amaholide kazwelonke, kamuva - amabhola kanye nama-masquerades ezindlini zezicukuthwane, ukuyidlala kwakubhekwa njengokululazeka. Kuze kube sekupheleni kwekhulu lama-24, ukusebenza kwe-violin yekhonsathi eyedwa kwakungekho eFrance. Kuliqiniso, ngekhulu lesi-XNUMX, abadlali bevayolini abambalwa abaphuma kubantu futhi benekhono elimangalisayo bathola udumo. Laba ngoJacques Cordier, oteketiswa ngelikaBokan kanye noLouis Constantin, kodwa abaculanga njengabacula ngabodwana. U-Bokan wenze izifundo zomdanso enkantolo, uConstantin wasebenza eqenjini lebhola lenkundla, elibizwa ngokuthi “amaViolins angama-XNUMX eNkosi.”

Abashayi bevayolini babevame ukwenza njengabangcweti bomdanso. Ngo-1664, kwavela incwadi yomdlali wevayolini uDumanoir ethi The Marriage of Music and Dance; umbhali wesinye sezikole ze-violin engxenyeni yokuqala yekhulu le-1718 (eyanyatheliswa ngo-XNUMX) uDupont uzibiza ngokuthi "uthisha womculo nomdanso."

Iqiniso lokuthi ekuqaleni (kusukela ekupheleni kwekhulu le-1582) lalisetshenziswa emculweni wasenkantolo kulokho okubizwa nge-“Stable Ensemble” lifakazela ukudelelwa kwevayolini. I-ensemble ("chorus") yesitebele yayibizwa ngokuthi i-chapel yezinsimbi zomoya, ezazisebenzela ukuzingela kwasebukhosini, uhambo, amapikiniki. Ngo-24, izinsimbi ze-violin zahlukaniswa ne- "Stable Ensemble" futhi "I-Large Ensemble of Violinists" noma ngenye indlela "ama-Violins angu-XNUMX weNkosi" akhiwe kusukela kubo ukuze adlale ama-ballet, amabhola, ama-masquerade futhi akhonze ukudla kwasebukhosini.

I-Ballet yayibaluleke kakhulu ekuthuthukisweni kobuciko be-violin baseFrance. Impilo yasenkantolo emnandi futhi enemibalabala, lolu hlobo lwemidlalo yaseshashalazini lwalusondele kakhulu. Kuyisici ukuthi ukudansa kamuva kwaba cishe isici kazwelonke sesitayela somculo we-violin waseFrance. Ubuhle, umusa, imivimbo yepulasitiki, umusa nokunwebeka kwesigqi yizimfanelo ezitholakala emculweni wevayolini yesiFulentshi. Emadlalweni asenkantolo, ikakhulukazi u-J.-B. Lully, i-violin yaqala ukuwina isikhundla somculo we-solo.

Akuwona wonke umuntu owaziyo ukuthi umqambi wezingoma ongumFulentshi omkhulu kunabo bonke ekhulwini le-16, uJ. U-Lully wayedlala ivayolini ngendlela encomekayo. Ngomsebenzi wakhe, waba nesandla ekuqashelweni kwaleli thuluzi eFrance. Uzuze ukudalwa enkantolo ye-“Small Ensemble” yabadlali beviolin (abangu-21, bese kuba ngabaculi be-1866). Ngokuhlanganisa womabili la maqembu, wathola i-orchestra ehlaba umxhwele eyayihambisana nama-ballet omkhosi. Kodwa okubaluleke kakhulu, i-violin yayiphathiswe izinombolo eziyedwa kulawa ma-ballet; ku-Ballet of the Muses (XNUMX), u-Orpheus wangena esiteji edlala ivayolin. Kunobufakazi bokuthi uLully udlale indima yakhe mathupha.

Izinga lekhono labadlali beviolin baseFrance ngesikhathi sikaLully lingahlulelwa yiqiniso lokuthi ku-orchestra yakhe abadlali babephethe insimbi kuphela endaweni yokuqala. I-anecdote ilondolozwe lapho inothi litholwa ezingxenyeni ze-violin kuya okwesihlanu, okwakungase “kufinyelelwe” ngokwelula umunwe wesine ngaphandle kokushiya indawo yokuqala, yashanela i-orchestra: “ngokucophelela—kuya!”

Ngisho nasekuqaleni kwekhulu le-1712 (ngo-1715), omunye wabaculi baseFrance, i-theoretician kanye ne-violinist u-Brossard, wathi ezikhundleni eziphezulu umsindo we-violin uphoqelelwe futhi awujabulisi; “ngazwi. ayiseyona ivayolini.” Ngo-XNUMX, lapho ama-sonatas amathathu kaCorelli efika eFrance, akekho noyedwa kubadlali bevayolini owayekwazi ukuwadlala, ngoba ayengenazo izikhundla ezintathu. "Inkosi, uMbusi wase-Orleans, umthandi womculo omkhulu, efuna ukuzizwa, waphoqeleka ukuthi avumele abaculi abathathu ukuba bazicule ... futhi eminyakeni embalwa kamuva kwaba khona abadlali be-violin abathathu ababekwazi ukucula."

Ekuqaleni kwekhulu lama-20, ubuciko be-violin baseFrance baqala ukukhula ngokushesha, kwathi lapho sekufike izikole ezingu-XNUMX zabadlali be-violin base bevele bakheka, benza imisinga emibili: "isiFulentshi", esazuza njengefa amasiko esizwe asuka kuLully, kanye " IsiNtaliyane”, esasingaphansi kwethonya elinamandla likaCorelli. Kwaqubuka umzabalazo oshubile phakathi kwabo, umdlalo wempi yesikhathi esizayo yama-buffoon, noma ukungqubuzana kwama-"glukists" kanye "nama-picchinists". AmaFulentshi abelokhu enwebeka ekuhlangenwe nakho kwawo komculo; ngaphezu kwalokho, kule nkathi imibono yama-encyclopedist yaqala ukuvuthwa, futhi izingxabano ezivuthayo zaqhutshwa kuzo zonke izenzakalo zomphakathi, ezobuciko, nezincwadi.

UF. Rebel (1666–1747) kanye no-J. Duval (1663–1728) babengabadlali bevayolini beLullist, uM. Maschiti (1664–1760) kanye no-J.-B. Senaye (1687-1730). Umkhuba othi "French" uthuthukise izimiso ezikhethekile. Yayibonakala ngokudansa, ubumnandi, imivimbo emifushane ephawuliwe. Ngokuphambene, abadlali be-violin, bethonywe ubuciko be-violin base-Italy, balwela ukucula, i-cantilena ebanzi, ecebile.

Yeka ukuthi umehluko phakathi kwale misinga yomibili wawuqine kangakanani kungahluzwa yiqiniso lokuthi ngo-1725 umculi odumile waseFrance uFrancois Couperin wakhulula incwadi ethi “The Apotheosis of Lully.” "Ichaza" (inombolo ngayinye inikezwa umbhalo ochazayo) ukuthi u-Apollo wamnikeza kanjani uLully indawo yakhe eParnassus, ukuthi uhlangana kanjani noCorelli lapho futhi u-Apollo uqinisekisa bobabili ukuthi ukuphelela komculo kungafinyelelwa kuphela ngokuhlanganisa iminyuziyamu yesiFulentshi nesiNtaliyane.

Iqembu labadlali beviyolin abanamakhono kakhulu lathatha indlela yenhlangano enjalo, phakathi kwayo abazalwane uFrancoeur Louis (1692-1745) noFrancois (1693-1737) noJean-Marie Leclerc (1697-1764) bagqama kakhulu.

Owokugcina wabo angathathwa ngesizathu esihle njengomsunguli wesikole se-violin yesiFulentshi. Ekudaleni nasekusebenzeni, wahlanganisa imisinga ehlukahlukene kakhulu yangaleso sikhathi, ekhokha intela ejulile emasikweni esizwe saseFrance, ewacebisa ngalezo zindlela zokukhuluma ezanqotshwa izikole zevayolini zase-Italy. UCorelli – Vivaldi – Tartini. Umbhali wempilo kaLeclerc, isazi esingumFulentshi uLionel de la Laurencie, ubheka iminyaka ye-1725-1750 njengesikhathi sokuqhakaza kokuqala kwesiko le-violin yaseFrance, ngaleso sikhathi eyayivele inabadlali abaningi be-violin abahlakaniphile. Phakathi kwabo, unikeza indawo ephakathi neLeclerc.

U-Leclerc wazalelwa eLyon, emndenini wengcweti eyingcweti (ngomsebenzi oyigaloni). Uyise washada nentombi uBenoist-Ferrier ngoJanuwari 8, 1695, futhi waba nezingane eziyisishiyagalombili kuye - abafana abahlanu namantombazane amathathu. Izibulo kule nzalo kwakunguJean-Marie. Wazalwa ngoMeyi 10, 1697.

Ngokusho kwemithombo yasendulo, uJean-Marie osemusha wenza i-debut yakhe yobuciko eneminyaka engu-11 njengomdansi eRouen. Ngokuvamile, lokhu kwakungamangalisi, njengoba abadlali be-violin abaningi baseFrance babedansa. Kodwa-ke, ngaphandle kokuphika imisebenzi yakhe kule ndawo, uLaurency uzwakalisa ukungabaza ukuthi uLeclerc uye eRouen ngempela. Cishe, wafunda kokubili ubuciko edolobheni lakubo, futhi ngisho nangaleso sikhathi, ngokusobala, kancane kancane, njengoba ngokuyinhloko wayelindele ukuthatha umsebenzi kayise. ULaurency ufakazela ukuthi kwakukhona omunye umdansi waseRouen owayenegama likaJean Leclerc.

E-Lyon, ngoNovemba 9, 1716, washada noMarie-Rose Castagna, indodakazi yomthengisi wotshwala. Wayesengaphezudlwana kweminyaka eyishumi nesishiyagalolunye ubudala. Kakade ngaleso sikhathi, yena, kusobala, wayengagcini nje ngokwenza umsebenzi wegalari, kodwa futhi wazi kahle umsebenzi womculi, kusukela ngo-1716 wayesohlwini lwalabo abamenyiwe e-Lyon Opera. Cishe wathola imfundo yakhe yokuqala ye-violin kuyise, ongazange wethule yena kuphela, kodwa wonke amadodana akhe emculweni. Abafowabo bakaJean-Marie babedlala kuma-orchestra eLyon, kanti uyise wafakwa ohlwini lwabanguthisha we-cellist nomdanso.

UmkaJean-Marie wayenezihlobo e-Italy, futhi mhlawumbe ngabo uLeclerc wamenywa ngo-1722 eTurin njengomdansi wokuqala we-ballet yedolobha. Kodwa ukuhlala kwakhe enhloko-dolobha yasePiedmont kwaba okwesikhashana. Ngemva konyaka, wathuthela eParis, lapho ashicilela khona iqoqo lokuqala le-sonatas ye-violin ene-bass edijithali, eyinikezela kuMnu. Bonnier, umgcinimafa wesifundazwe saseLanguedoc. UBonnier wazithengela isicoco sikaBaron de Mosson ngemali, wayenehhotela lakhe eParis, izindawo zokuhlala ezimbili zamazwe - "Pas d'etrois" eMontpellier kanye nenqaba yaseMosson. Lapho inkundla yeshashalazi ivaliwe eTurin, mayelana nokufa kweNkosazana yasePiedmont. ULeclerc wahlala izinyanga ezimbili nalo mphathi.

Ngo-1726 waphinde wathuthela eTurin. IRoyal Orchestra edolobheni yayiholwa umfundi odumile kaCorelli kanye nothisha wevayolini wekilasi lokuqala uSomis. ULeclerc waqala ukufunda kuye, wenza intuthuko emangalisayo. Ngenxa yalokho, kakade ngo-1728 wakwazi ukwenza eParis ngempumelelo brilliant.

Ngalesi sikhathi, indodana kaBonnier esanda kushona iqala ukumnakekela. Ubeka u-Leclerc ehhotela lakhe e-St. Dominica. U-Leclerc uzinikezela kuye iqoqo lesibili le-sonatas ye-violin eyedwa ene-bass kanye ne-sonatas engu-6 yama-violin angu-2 ngaphandle kwe-bass (Op. 3), eyanyatheliswa ngo-1730. U-Leclerc uvame ukudlala ku-Concerto Yokomoya, eqinisa udumo lwakhe njengomculi oyedwa.

Ngo-1733 wajoyina abaculi basenkantolo, kodwa hhayi isikhathi eside (kuze kube ngu-1737). Isizathu sokuhamba kwakhe kwakuyindaba ehlekisayo eyenzeka phakathi kwakhe nembangi yakhe, umdlali wevayolini ovelele uPierre Guignon. Ngamunye waba nomona ngodumo lomunye kangangokuthi akazange avume ukudlala iphimbo lesibili. Ekugcineni, bavumelana ngokushintsha izindawo nyanga zonke. UGuignon wanika uLeclair isiqalo, kodwa lapho inyanga isiphelile futhi kufanele ashintshele ku-violin yesibili, wakhetha ukuyishiya inkonzo.

Ngo-1737, uLeclerc waya eHolland, lapho ahlangana khona nomdlali wevayolini omkhulu kunabo bonke engxenyeni yokuqala yekhulu lesi-XNUMX, umfundi kaCorelli, uPietro Locatelli. Lo mqambi wokuqala nonamandla waba nomthelela omkhulu kuLeclerc.

Ukusuka eHolland, uLeclerc wabuyela eParis, lapho ahlala khona kwaze kwaba sekufeni kwakhe.

Izinhlelo eziningi zemisebenzi kanye nokudlalwa okuvamile kumakhonsathi kwaqinisa inhlalakahle yomdlali wevayolini. Ngo-1758, wathenga indlu enezitezi ezimbili enengadi e-Rue Carem-Prenant emaphethelweni aseParis. Indlu yayisekhoneni elithule laseParis. ULeclerc wayehlala kuyo yedwa, ngaphandle kwezinceku nomkakhe, owayevame ukuvakashela abangane enkabeni yedolobha. Ukuhlala kukaLeclerc endaweni ekude kangako kwabakhathaza abamthandayo. UDuke de Grammont wathembisa ngokuphindaphindiwe ukuhlala naye, kuyilapho uLeclerc ekhetha ukuba yedwa. Ngo-Okthoba 23, 1764, ekuseni kakhulu, umlimi, ogama lakhe linguBourgeois, edlula eduze kwendlu, wabona umnyango ovulekile. Cishe ngaso leso sikhathi, umlimi wengadi kaLeclerc, uJacques Peizan, wasondela futhi bobabili babona isigqoko newigi yalo mculi kulele phansi. Bathuke babize omakhelwane bangene endlini. Umzimba kaLeclerc wawulele kuvulandi. Wagwazwa emhlane. Umbulali kanye nezinhloso zobugebengu zahlala zingakaxazululwa.

Amarekhodi amaphoyisa anikeza incazelo enemininingwane yezinto ezishiywe kuLeclerc. Phakathi kwazo kukhona itafula lesitayela sakudala elisikwe ngegolide, izihlalo zengadi eziningana, amatafula okugqoka amabili, isifuba samadrowa, esinye isifuba esincane samadrowa, ibhokisi lesinemfu eliyintandokazi, i-spinet, ama-violin amabili, njll. Inani elibaluleke kakhulu kwakungu umtapo wolwazi. ULeclerc wayeyindoda efundile futhi efunde kahle. Umtapo wakhe wezincwadi wawunemiqulu engama-250 futhi uqukethe i-Ovid's Metamorphoses, i-Milton's Paradise Lost, esebenza nguTelemachus, Molière, Virgil.

Okuwukuphela kwesithombe esisindile sikaLeclerc ngumdwebi u-Alexis Loire. Igcinwe egunjini lokuphrinta leNational Library yaseParis. U-Leclerc uvezwe enobuso obuphakathi, ephethe ikhasi lephepha lomculo elibhalwe ngesandla. Unobuso obugcwele, umlomo ogcwele kanye namehlo aphilayo. Abantu besikhathi samanje bathi wayenomlingiswa olula, kodwa wayengumuntu oziqhenyayo futhi ocabangelayo. Ecaphuna enye yezincwadi zemingcwabo, uLorancey ucaphuna la mazwi alandelayo: “Wayehlukaniswa ngokuba lula okuqhosha nokugqama kwengcweti. Wayezimisele futhi ecabanga futhi engawuthandi umhlaba omkhulu. Ethukuthele futhi enesizungu, wamgwema umkakhe futhi wakhetha ukuhlala kude naye nezingane zakhe.

Udumo lwakhe lwalungavamile. Mayelana nemisebenzi yakhe, izinkondlo zabhalwa, ukubuyekezwa okunomdlandla kwabhalwa. U-Leclerc wayebhekwa njengengcweti eyaziwayo yohlobo lwe-sonata, umdali wekhonsathi ye-violin yaseFrance.

Ama-sonata namakhonsathi akhe athakazelisa ngokwedlulele ngokwesitayela, ukulungiswa okunamandla ngempela kwezimpawu zomculo wevayolini wesiFulentshi, isiJalimane nesiNtaliyane. E-Leclerc, ezinye izingxenye zamakhonsathi zizwakala sengathi “i-Bachian”, nakuba lilonke likude nesitayela se-polyphonic; kutholakala ukuphenduka okuningi kwephimbo, okubolekwe kuCorelli, Vivaldi, naku-"arias" edabukisayo futhi kumarondo wokugcina acwebezelayo ungumFulentshi weqiniso; Akumangalisi ukuthi abantu besikhathi sakhe babewazisa kangaka umsebenzi wakhe ngenxa yobuzwe bawo. Kusuka emasikweni kazwelonke kuvela "isithombe", ukuboniswa kwezingxenye ngazinye ze-sonatas, lapho zifana khona nezithombe ezincane ze-Couperin's harpsichord. Uhlanganisa lezi zakhi ezihluke kakhulu zama-melos, uzihlanganisa ngendlela yokuthi azuze isitayela esiyingqayizivele se-monolithic.

U-Leclerc wabhala kuphela imisebenzi ye-violin (ngaphandle kwe-opera i-Scylla ne-Glaucus, 1746) - i-sonatas ye-violin ene-bass (48), i-trio sonatas, i-concertos (12), i-sonatas yamaviyolini amabili ngaphandle kwe-bass, njll.

Njengomdlali we-violinist, uLeclerc wayeyingcweti yendlela yokudlala yangaleso sikhathi futhi wayedume kakhulu ngokudlalwa kwamaculo, amanothi aphindwe kabili, kanye nokuhlanzeka okuphelele kwephimbo. Omunye wabangani bakaLeclerc kanye nesihlabani somculo, uRosois, umbiza ngokuthi “inghlakanipho ejulile eguqula bona kanye ubukhenikha bomdlalo benze ubuciko.” Imvamisa, igama elithi “usosayensi” lisetshenziswa maqondana ne-Leclerc, efakazela ubuhlakani obaziwayo bokusebenza kwakhe nokudala futhi yenza umuntu acabange ukuthi okuningi kwezobuciko bakhe kumsondeze kuma-encyclopedist futhi aveze indlela eya ku-classicism. “Umdlalo wakhe wawuhlakaniphile, kodwa kwakungekho ukungabaza kulokhu kuhlakanipha; kwakuwumphumela wokunambitheka okukhethekile, futhi hhayi ngenxa yokuntula isibindi noma inkululeko.

Nansi isibuyekezo somunye owayephila ngaleso sikhathi: “U-Leclerc wayengowokuqala ukuhlanganisa okujabulisayo nokuwusizo emisebenzini yakhe; ungumqambi ofunde kakhulu futhi udlala amanothi aphindwe kabili ngokuphelela okunzima ukukuhlula. Unokuxhumana okujabulisayo komnsalo ngeminwe (isandla sobunxele. – LR) futhi udlala ngobumsulwa obukhethekile: futhi uma, mhlawumbe, ngezinye izikhathi ehlanjalazwa ngokuba nokubanda okuthile ngendlela yakhe yokudlulisela, khona-ke lokhu kuvela ekuntuleni. wobuntu, ngokuvamile ophethe cishe bonke abantu.” Ecaphuna lezi zibuyekezo, u-Lorancey ugqamisa izimfanelo ezilandelayo zokudlala kuka-Leclerc: “Isibindi sangamabomu, ubuhle obungenakuqhathaniswa, obuhlanganiswe nokuqondisa okuphelele; mhlawumbe ukomisa okuthile ngokucaca nokucaca okuthile. Ngaphezu kwalokho - ubukhosi, ukuqina kanye nesisa esivinjelwe.

ULeclerc wayenguthisha osezingeni eliphezulu. Phakathi kwabafundi bakhe kukhona abadlali bevayolini abadume kakhulu baseFrance - uL'Abbe-son, uDovergne noBurton.

U-Leclerc, kanye noGavinier noViotti, benza inkazimulo yobuciko bevayolini baseFrance bekhulu lesi-XNUMX.

L. Raaben