タルクィニオ メールラ
タルクィニオ メールラ (Tarquinio Merula, 1594 /1595 age – The Italian composer, organ that) played an active part in early baroque on December 10, 1665, a violin player. I was active in Cremona, but belong to Venetian school from the style mainly. He is one of the most advanced musicians in the early 17th century, and the point that applied particularly new technique to religious music positively attracts attention.
Table of contents
Life
メールラ is born in Cremona, and probably I receive an initial lesson of the music in this ground, and it is thought that I was employed as an organist. I get the organist's post of the Virgin Mary coronation church (S Maria Incoronata) of the low day in 1616. I remained in low D until 1621, but I moved to this age, Warsaw of Poland, and it was Imperial Court organist of the Sigmund third.
I change my job to a master of court music of ベルガモ in 1631 without remaining here only for four years though I return to Cremona in 1626 and become the master of court music (maestro di cappella) of the temple of Confucius in 1627, the following day. Many musical bandmans die by a rage of the plague that attacked the town of most in northern Italy in 1630 (Alessandro Grandi) in ベルガモ at the beginning on predecessor Alessandro Grand day, and メールラ will tear much labor to rebuild an orchestra.
メールラ was rolled up in the trouble with some pupils and has been appealed by an indecent act afterwards. He comes back to Cremona again and spends 1635 there. It has been forbidden at all that I employed the musical bandman of the having taken up the post formerly church though I came back to ベルガモ again after having seemed to often cause a problem with the employer at this time, and having competed many times with the civil authority of Cremona and worked for the church where was different from in front of. And finally, I came back to Cremona and, for 1,646 years, served grr lah again at デッラ Madonna church (Laudi della Madonna) on a day until I reached death in 1665.
A work and influence
メールラ is one of the important existence that contributed to the early stage of development such as some important music form that will mature for the baroque namely cantata, aria, variation with the sonata (church sonata, sonata da camera) continuous bass and sinfonia.
I chase a trace of Claudio Monteverdi in the religious music and imitate a lot of technique, but, on the other hand, perform the new trial to compose the mottetto for soli with the string music ensemble. For 1,639 years, some music for mass using the バッソ ostinato of Ruggero form and the ロマネスカ form are included in publication music of 1652 in 1640. In addition, some works are similar to コンチェルタート style of Giovanni ガブリエーリ and let you strongly feel a feeling of modern tonality.
In the common customs music, there is マドリガーレ of the solo with the instrumental music ensemble and occasionally uses Monteverdi-type スティーレ Conti tart (using the stile concitato sounds type such as the will of the excited style, the intense repetition of the same sound). In addition, the form top is seen in the point that is ahead of a cantata of the latter term baroque which an aria and recitative are divided into. The opera composes 1 work, too and produces "false talented woman" (La finta savia) with the script of ストロッツィ (Giulio Strozzi) in 1643. I compose much instrumental music カンツォーナ elsewhere, and the structure to have 部立 てを is a pioneer of the styles of the church sonata, and the work for a stringed instrument particularly violins has extremely finished usage, and it may be said that this is also a pioneer of the works of the latter period baroque.
Furthermore, I compose a cantonetta, talks music, toccata and the capriccio for the keyboard, the sonata of the chromatic scale much as if I cover all all the forms that were popular elsewhere at the time of in north Italy.
The complete series of work of メールラ are published in 1974 by New York Brooklyn Corporation (T. Merula: Opere complete, ed. A. Sutkowski).
Outside link
References
- Article "Tarquinio Merula", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1561591742 [item of "タルクィニオ メールラ" for it for new glove world music size encyclopedia, 1,980 years]
- Stephen Bonta: "Tarquinio Merula", Grove Music Online ed. L. Macy (Accessed January 9, 2005), Grove Music Online [glove music online]
- Manfred Bukofzer, Music in the Baroque Era. New York, W.W. It is 1947 Norton & Co. ISBN 0393097455
- Eleanor Selfridge-Field, Venetian Instrumental Music, from Gabrieli to Vivaldi. New York, Dover Publications, 1994. ISBN 0486281515
This article is taken from the Japanese Wikipedia タルクィニオ メールラ
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