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?מוזיקה עתיקה ידועה גם בשם ביצוע מודע היסטורית. מה הפירוש ובמה מדובר
אם נתבונן על מסורת הביצוע של המוזיקה הקלאסית, נוכל לראות בהכללה גסה שעד למחצית השניה של המאה ה20 נוצרו כמה מוסכמות לגבי הרפרטואר, שכלל מעט מאוד בארוק מאוחר, בעיקר באך והנדל, וכל השאר מוזיקה מהתקופה הקלסית והרומנטית, ובצידה גם מוזיקה עכשווית, אליה הקהל פחות התחבר בהמוניו, כלומר – נוצר מצב שבו מנגנים שוב ושוב קלסיקות מתקופת יצירה של כ150 שנה – פחות או יותר מאמצע המאה ה18 ועד תחילת המאה ה20. מצב זה היה שונה ממה שקרה עד אז בהיסטוריה, ובעיקר בתקופות קדומות יותר, בהן יצירות תזמורתיות וקמאריות נכתבו ובוצעו כדבר חדש, והייתה מעט מאוד התעניינות בביצוע מוזיקה מהעבר, אם בכלל. מאידך כאמור, גם יצירות עכשוויות מתקשות להכנס לקאנון של המוזיקה הקלאסית – לעיתים משום סגנונן, העשוי להיות לא פשוט להאזנה ולהבנה, ולעיתים פשוט מפני שקשה להתברג למועדון דחוס ועולמי שצרכניו רוצים לשמוע את מה שהם מכירים. מבחינה זו, תנועת המוזיקה העתיקה, עוסקת בעיקר בביצוע של מוזיקה מתקופתם של באך והנדל ואחורה, עד ימי הביניים, ובשוליה אפילו ניסיונות לבצע מוזיקה מוקדמת יותר, ככל שהחוקרים מוצאים כזו, ומצליחים בנסיונותיהם לפענח אותה. מעניין לציין שהרבה מנגני המוזיקה העתיקה מתחברים גם לביצוע של יצירות עכשוויות, אולי בזכות סוג של ברית מקופחים שמתחת לראדאר של המועדון הנזכר לעיל, וסקרנות הדדית, בין היתר משום הכלים הלא קונבנציונאלים מחד, וההכשרה הדומה מאוד להכשרה של נגן קלאסי מאידך. מטבע הדברים התנועה שואפת להשתמש ברפליקות של כלים מהעבר (ולעיתים, אם מתמזל המזל, גם באוריגינלים), שהם או גירסאות מוקדמות של כלים מודרנים מוכרים, או כלים שעברו מהעולם בתקופה הקלאסית והרומנטית, כמו צ’מבלו, לאוטה, ויולה דה גמבה וגם – חליליות. כן, התופעה של נגינת חלילית כמעין טרום כלי היא תופעה מודרנית. בעבר חליליות היו חלק ממכלול הכלים הרגיל, ונכתבו להן יצירות בידי טובי המלחינים, כולל באך, ויולדי והנדל, ברמה הגבוהה ביותר, כמו לכל כלי אחר, עד שמעמדן דעך במהלך המאה ה18 עם השתנות עולם המוזיקה שהכחידה את רוב הכלים שלא נכנסו לתוך בסיס התזמורת כפי שאנו מכירים אותה היום. כך, למי שמעמיק בימנו בנגינה בחלילית, כמו שחיי התגלגלו בתור ילד, ובמזל היה מורה בסביבתי שידע לכוון אותי לתחום באופן מקצועני זה, יש הזדמנות להיחשף לעולם של מוזיקה עתיקה, שכבר יצר לעצמו קלאסיקות משלו, ושהוא דינמי ביותר בימנו, וממשיך לגלות עוד ועוד אוצרות חבויים מהעבר, הן בתחום כלי הנגינה, הן בתחום היצירות והמלחינים, והן בדרכי הביצוע, מה שמביא אותנו לפן השני של התנועה – ביצוע מודע היסטורית
כבר הזכרנו שבעבר היו כלים שנכחדו, אולם גם הכלים המוכרים לנו עברו אבולוציה. למשל כלי הקשת של התקופה הקלאסית והרומנטית היו שונים מהמודרניים – הן בקשתות שלהם, שהעניקו באופן טבעי ארטיקולציה שונה לפראזות המוזיקליות, הן במיתרים שהיו עשויים מגיד ולא ממתכת, ולכן הצליל שלהם היה שונה מהותית וכמובן גם האפשרויות הטכניות, והן באלמנטים נוספים בהם, משמעותיים פחות. למשל כלי הנשיפה – חלילים עשויים מעץ, בעלי צליל שונה מאוד מהמודרני, ובעלי אצבוע שונה, אלמנט משותף בהשתנותו לכלי נשיפה רבים. גם כלי הנשיפה ממתכת השתנו – השינוי הבולט ביותר – בתחילת התקופה לא היתה להם מערכת לחצנים, ולכן הנגינה בהם היתה מבוססת על מערכת האוברטונים בלבד, על כל ההשלכות הטכניות והקומפוזיציוניות שנובעות מכך. הפסנתרים עברו אבולוציה מכלי חלוש אך חצוף לכלי בומבסטי אך עדין וכן הלאה. המניירות שבנגינה היו שונות הן בשל כך והן בשל תפיסות עולם שהשתנו ומסורות שהתפתחו – הפקת קישוטים, עיצוב הצליל, הפרייזינג וההקשים – כולם עברו אבולוציה. לכן, תנועת המוזיקה העתיקה הסתעפה גם אל תוך הרפרטואר הקלאסי הקונבונציונאלי, וכיום יש גופי ביצוע רבים המוקדשים לביצוע מודע היסטורית, על כל המשתמע מכך, כולל כלי הנגינה עצמם. ראוי לציין שאין מדובר כבר בתופעה שולית, אלא בתנועה שמתפרסת על פני עשרות אחוזים מהעולם המוזיקה הקלאסית בכללו, ואשר משפיעה רבות גם על גופי הביצוע המסורתיים, למשל בתחום המניירות
כנגן חלילית הגעתי כאמור לתחום המוזיקה העתיקה ושם מצאתי את ביתי, וזאת היתה השכלתי. את התואר שלי למשל עשיתי במחלקה למוזיקה עתיקה של הפקולטה למוזיקה של בית הספר הגבוה לאמנויות באוטרכט, הולנד – אחד המרכזים החשובים בתחום. נתח נכבד מהקריירה המקצועית שלי הוא כנגן חליליות בהרכבי מוזיקה עתיקה, מהמובילים בארץ
כמולטי אינסטרומנטליסט (תופעה שבהחלט הייתה נפוצה בעבר) אני נהנה לנגן על כלי מקלדת, מיתר ונשיפה מעולם המוזיקה עתיקה, לצד המודרניים. כנגן רב סגנוני אני משבץ כלים אלה גם בהפקות מוזיקה מודרניות
…להלן כמה קליפים שלי עם מיטב כלי המוזיקה העתיקה בסגנונות של מוזיקה עתיקה ממש, ולא רק
:בונוס – להלן שתי קבוצות פייסבוק שיצרתי בנושא מוזיקה עתיקה*
Early Music is also known as Historically Informed Performance. What does it mean and what it is?
If we look at the traditional performance of classical music, we can roughly see a general trend until the second half of the 20th century of creation of some consensus about the repertoire, which included very little late baroque, especially Bach and Handel, and for the rest mainly music from the classical and romantic periods, and the legitimacy of contemporary music wasn’t very wide among the general concerts public, which means a situation which classics created in the time frame of about 150 a year – roughly from the mid-18th century to the early 20th century, were and still repeatedly played in the classical music world. This was different from what had happened until then in history, especially in earlier periods, including chamber and orchestral works that were written and performed as a new thing, and there was very little interest in performing music from the past, if at all. On the other hand, as stated, also contemporary works have hard time to enter the canon of classical music – sometimes because of their style, that may be not simple to listen to and/or understand, and sometimes simply because it is difficult to get into the club which is dense and its consumers want to hear what they already know. In this aspect, early music movement is mainly engaged in the performance of music from the time of Bach and Handel and back to the Middle Ages, and margins even attempts to make earlier music, as researchers find it, and may succeed in their attempts to decipher it. It is interesting to note that many early music players connected as well to performance of contemporary works, perhaps because of alliance of types that goes under the radar of the aforementioned club, and mutual curiosity, partly because non-conventional instruments on the one hand, and vocational training is very similar to the classic players on the other. Naturally, the movement aims to use replicas of the instruments of the past (and sometimes, if lucky, even originals), which are either earlier versions of the modern conventional musical instruments, or instruments that have passed away during the classical and romantic eras, like harpsichord, lute, viola da gamba and – Recorders. Mention that the phenomenon of recorder as a tool of kind of pre-real-instrument training is a modern phenomenon. In early times recorders were part of the “normal” instruments, and pieces by top composers, including Bach, Vivaldi and Handel, were composed to the instrument, just like to any other instrument, until their position waned during the course of the 18th century with the changing world of music obliterated the odor of most of the instruments that have not entered into the orchestra as we know it today. So, for those that deepens with the recorder, like my life had evolved when as a child I had the luck to have a teacher in my environment to direct me in the fashion professionals, there’s an embedded chance to be exposed to this world of early music, which has already created classics of its own, and that is very dynamic nowadays, and continues to find more hidden treasures from the past, both in the sense of the instruments, as well as pieces and composers, and performance practices, which brings us to the second aspect of the movement – historically informed performance.
We have mentioned previously extinct instruments, but also the ones we know evolved. For example, the string instruments of classical and romantic periods differed from modern – both bows which gave different natural articulation for musical phrases, or the strings that were gut strings, not metal, so their sound was significantly different and hence also technical options, and there were other less significant differences elements in them as well. Eg woodwinds – flutes made of wood, with very different sound from modern instruments, and they had different fingering as well, which was common case in many early woodwinds instruments. The brass section have changed too – the most obvious change – in their beginning they did not have buttons, so playing them was based on their overtones solely, with all the implications of technical and compositional aspects arising from that. Pianos evolved from a weak but pinchy instruments to bombastic but delicate and so on. Mannerisms of playing differ due to that and due to the changed world views and traditions that have evolved – producing ornaments, sound design, phrasing and overall thinking of the music – all evolved. Therefore, early music movement also branched out into the conventional classical repertoire, and now there are many bodies dedicated to making historically informed performance, with all that entails, including the instruments themselves. It should be noted that it is no longer a marginal phenomenon, but a movement that extends over tens of percent of the world of classical music as a whole, and that affects also many traditional executive bodies, for example in the issue of mannerisms. As a recorder player I arrived naturally to the early music field where I found my home, and that was my main theme of official education. For example, my degree I did in the early music department of the music faculty of the High School of Arts in Utrecht, the Netherlands – one of the most important centers in the field. A major portion of my professional career is playing the recorder in the country’s leading early music ensembles, and so on.
As a multi instrumentalist (which certainly was a common phenomenon in the past) I enjoy playing the keyboard, strings and woodwinds instruments and music from the past, modern aside. As a multi & cross-genre player I stroke these instruments and ideas from the past into modern music productions.
Here are some of my videos with the best early music instruments in styles from conventional early to styles of music that are from other worlds initially or cross-genres styles …
If we look at the traditional performance of classical music, we can roughly see a general trend until the second half of the 20th century of creation of some consensus about the repertoire, which included very little late baroque, especially Bach and Handel, and for the rest mainly music from the classical and romantic periods, and the legitimacy of contemporary music wasn’t very wide among the general concerts public, which means a situation which classics created in the time frame of about 150 a year – roughly from the mid-18th century to the early 20th century, were and still repeatedly played in the classical music world. This was different from what had happened until then in history, especially in earlier periods, including chamber and orchestral works that were written and performed as a new thing, and there was very little interest in performing music from the past, if at all. On the other hand, as stated, also contemporary works have hard time to enter the canon of classical music – sometimes because of their style, that may be not simple to listen to and/or understand, and sometimes simply because it is difficult to get into the club which is dense and its consumers want to hear what they already know. In this aspect, early music movement is mainly engaged in the performance of music from the time of Bach and Handel and back to the Middle Ages, and margins even attempts to make earlier music, as researchers find it, and may succeed in their attempts to decipher it. It is interesting to note that many early music players connected as well to performance of contemporary works, perhaps because of alliance of types that goes under the radar of the aforementioned club, and mutual curiosity, partly because non-conventional instruments on the one hand, and vocational training is very similar to the classic players on the other. Naturally, the movement aims to use replicas of the instruments of the past (and sometimes, if lucky, even originals), which are either earlier versions of the modern conventional musical instruments, or instruments that have passed away during the classical and romantic eras, like harpsichord, lute, viola da gamba and – Recorders. Mention that the phenomenon of recorder as a tool of kind of pre-real-instrument training is a modern phenomenon. In early times recorders were part of the “normal” instruments, and pieces by top composers, including Bach, Vivaldi and Handel, were composed to the instrument, just like to any other instrument, until their position waned during the course of the 18th century with the changing world of music obliterated the odor of most of the instruments that have not entered into the orchestra as we know it today. So, for those that deepens with the recorder, like my life had evolved when as a child I had the luck to have a teacher in my environment to direct me in the fashion professionals, there’s an embedded chance to be exposed to this world of early music, which has already created classics of its own, and that is very dynamic nowadays, and continues to find more hidden treasures from the past, both in the sense of the instruments, as well as pieces and composers, and performance practices, which brings us to the second aspect of the movement – historically informed performance.
We have mentioned previously extinct instruments, but also the ones we know evolved. For example, the string instruments of classical and romantic periods differed from modern – both bows which gave different natural articulation for musical phrases, or the strings that were gut strings, not metal, so their sound was significantly different and hence also technical options, and there were other less significant differences elements in them as well. Eg woodwinds – flutes made of wood, with very different sound from modern instruments, and they had different fingering as well, which was common case in many early woodwinds instruments. The brass section have changed too – the most obvious change – in their beginning they did not have buttons, so playing them was based on their overtones solely, with all the implications of technical and compositional aspects arising from that. Pianos evolved from a weak but pinchy instruments to bombastic but delicate and so on. Mannerisms of playing differ due to that and due to the changed world views and traditions that have evolved – producing ornaments, sound design, phrasing and overall thinking of the music – all evolved. Therefore, early music movement also branched out into the conventional classical repertoire, and now there are many bodies dedicated to making historically informed performance, with all that entails, including the instruments themselves. It should be noted that it is no longer a marginal phenomenon, but a movement that extends over tens of percent of the world of classical music as a whole, and that affects also many traditional executive bodies, for example in the issue of mannerisms. As a recorder player I arrived naturally to the early music field where I found my home, and that was my main theme of official education. For example, my degree I did in the early music department of the music faculty of the High School of Arts in Utrecht, the Netherlands – one of the most important centers in the field. A major portion of my professional career is playing the recorder in the country’s leading early music ensembles, and so on.
As a multi instrumentalist (which certainly was a common phenomenon in the past) I enjoy playing the keyboard, strings and woodwinds instruments and music from the past, modern aside. As a multi & cross-genre player I stroke these instruments and ideas from the past into modern music productions.
Here are some of my videos with the best early music instruments in styles from conventional early to styles of music that are from other worlds initially or cross-genres styles …
Adi Silberberg Music 