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Dve barokne interpretacije u oratorijumima Karisimija i Šarpentjea

Predavanje prof. Ane Stefanović

U predavanju se bavimo oratorijumima Đakoma Karisimija (Giacomo Carissimi) i Mark-Antoana Šarpentjea (Marc-Antoine Charpentier), nastalim, pod istim naslovom, 1669, odnosno, 1702. godine (H.422), inspirisanim temom Salomonovog suda. Ova starozavetna parabola iz prve Knjige o carevima (3: 16-28) ne govori samo o ličnosti kralja Izraela, Davidovog naslednika Salomona, proroka i pesnika, već tematizuje složene etičke probleme koji se tiču mudrosti i rasuđivanja, nematerijalnih vrednosti, s jedne strane, i materijalnih bogatstava, moći i vlasti, s druge strane. Rimski kompozitor, tvorac oratorijuma, Karisimi, i njegov francuski učenik i naslednik u oratorijumskom žanru, Šarpentje, inače u svom stvaralaštvu okrenuti biblijskim temama, prišli su ovom tekstu na različite načine. Dok Karisimi u svom delu manjeg opsega, za četvoro solista, hor, dve violine i kontinuo, biblijsku parabolu u prvom redu postavlja kao pripovest, naglašavajući pri tom afektivnu stranu njenih aktera, dotle Šarpentje u opsežnijoj postavci oratorijuma u dva dela (za devetoro solista, hor i orkestar), daje interpreatciju u većoj meri okrenutu ka njenoj filozofskoj i etičkoj strani. U predavanju se bavimo ovim razlikama u muzičkom tumačenju višestrukih značenjskih ravni Salomonovog suda.

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Two baroque interpretations in oratorios by Carissimi and Charpentier

Lecture by prof. Ane Stefanović

Museum of National Theatre in Belgrade

The lecture focuses on the oratorios of Giacomo Carissimi and Marc-Antoine Charpentier, created under the same title, in 1669 and 1702 (H.422), inspired by the theme of Solomon’s Court. This Old Testament parable from the first Book of Emperors (3: 16-28) not only addresses the personality of King Israel, David’s successor Solomon, prophet and poet, but thematizes complex ethical issues concerning wisdom and reasoning, intangible values, on the one hand. and material wealth, power and authority, on the other hand. The Roman composer, creator of the oratorio, Karisimi, and his French disciple and successor in the oratorio genre, Charpentier, who otherwise turned to biblical themes in his work, approached this text in different ways. While Karisimi in her smaller part, for four soloists, choir, two violins and continuo, primarily sets the biblical parable as a narrative, while emphasizing the affective side of its actors, Sharpentia in a more extensive two-part oratorio setting (for nine soloists, choir and orchestra), gives the interpreation more oriented towards its philosophical and ethical side. In the lecture, we address these differences in the musical interpretation of Solomon’s court multiple meanings.

Prof. dr. Ana Stefanović

Musicologist, Professor at the University of Arts, Faculty of Music (Department of Musicology), in Belgrade and Associate Researcher at IreMus, Paris. She received her MA degree at the Faculty of Music in Belgrade and her PhD in musicology at the University Paris IV Sorbonne. 

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