Roman school |
Roman school – name creative directions that developed in Rome in the 16-17 centuries.
1) R. sh. in polyphonic. wok. music is creative. school, formed in the 2nd half. 16th century led by Palestrina. His followers at the beginning 17th century were J. M. and J. B. Nanino, F. and J. F. Anerio, F. Soriano. For R. sh. characteristic is the predominance of spiritual genres (a cappella in polyphonic presentation) – masses, motets. Roman composers also wrote madrigals. Polyphonic the style of the school (the so-called strict style) was distinguished by its purity, smooth melodic. lines, consonance, harmonic detection. started in polyphonic. combination of voices. Refusing melodic. freedom and emphasized expressiveness, from chromaticisms, complex rhythms, harmonics. stiffness, representatives of R. sh. created production. blissfully peaceful, contemplative, majestic, imbued with sublime emotions. These Op. met the requirements of the Catholic churches during the Counter-Reformation. At the same time, they prepared, along with other currents of con music. 16th century, transition from polyphony to harmony. In the future, R. sh. degenerated into an academic church direction. choir. music a cappella and lost its meaning.
2) R. sh. in opera, one of the first opera schools in Italy, which emerged in the 20s and 30s. 17th century Two lines were outlined in it: a magnificent baroque-style opera performance (beginning with the opera The Chain of Adonis by D. Mazzocchi, 1626) and a moralizing-comic, close to commedia dell’arte (Let the Suffering Hope by V. Mazzocchi and M. Marazzoli, on the plot from the Decameron by Boccaccio, 1639). The largest representative of R. sh. was a computer. S. Landi (best opera – “St. Alexei”, 1632), in prod. to-rogo united to a certain extent both tendencies. Lundy’s operas combine truly dramatic, even tragic. situations, christ. moralizing, fantasy and everyday life. An even more bizarre mixture of Christ. morality and genre verisimilitude is characteristic of Roman comic operas. type. Thanks to the development of genre scenes (for example, the fair scene), new elements of music appeared in these performances. stylistics – colloquial, with a little support for the harpsichord, recitatives (recitativo secco), songs, genre choirs. Simultaneously in the Roman opera, the role of the ariose beginning (the expression of dramatic emotions) increased. L. Vittori (pastoral opera Galatea, 1639), M. Rossi (Erminia, 1637) also stood out among the composers. The development of opera in Rome in the 17th century took place in a difficult environment and largely depended on the personality of one or another pope: the operatic t-ru was either patronized (Urban VIII Barberini, Clement IX Rospigliosi), or he was persecuted (popes Innocent X and Innocent XII). The buildings of the T-ditch were either built or destroyed. Traditions R. sh. then partly moved to Venice and developed here in other societies. conditions.
References: Ademollo A., I teatri di Roma nel secolo decimosettimo, Roma, 1888; Goldschmidt H., Studies in the History of Italian Opera in the XVII. Century, Vol 1, Lpz., 1901; Rolland R., L’opera au XVII siиcle en Italie, в кн.: Encyclopйdie de la musique et dictionnaire du Conservatoire… fondateur A. Lavignac, partie I, (v. 2), P., 1913 (рус. пер. — в кн.: Роллан Р., Опера в XVII в. в Италии, Германии, Англии, М., 1931), Ridder L. de, The share of the Comedia dell’Arte in the history of the origin and development of the comic opera, Cologne, 1970 (Diss.).
TH Solovieva
