silent melody

Chapter 4 [Xia] "Remember Me But Please Forget My Fate"

years ago.Lin Bo.

A burst of singing came from the mountains, drifting into the dim and simple hut.

First the recitative:

"Your hand Belinda darkness strikes

let me rest in your chest

The wish remains but death invites me

I gladly accept death"

It is the voice of Tommaso Giovanni Albinoni.Then came the aria:

"When I, when I return to dust"

Dido's Lament from "Dido and Aeneas".An excerpt from Henry Purcell's opera Dido and Aeneas.

"May all the evil I have done"

Poor Purcell is long gone to dust.After a hopeless wait of almost two centuries.

"Not to trouble you"

Heart-piercing melodies and enunciations fell one by one on the daybook in Vivaldi's hands.He tried to stay calm and meditate but to no avail.

"Remember me remember me but please forget my fate"

Purcell's way was their way, leading to oblivion and death.

"Remember me but please forget my fate"

As the last note fell, Albinoni came to the grave-faced priest.Half squatting in front of the black robe, the singer gently pushed aside the priest's hand holding the rosary.

"Antonio Lucio Vivaldi, why do you stay in a dark room alone in the summer without following me?"

Albinoni was born with understanding almond eyes, slender crescent-like eyebrows, and soft brown hair that just covered his neck. He was not only a composer and violinist, but also an excellent singer.And Vivaldi's peers are also from the same hometown, and they are all good at violin, opera and instrumental works.

Pulling Vivaldi, Albinoni walked and sang, walked out of the monastery along the mountain road, and came to the mountains in early summer.

"Tomaso..." Suddenly, the priest stopped.He who has been unprotected by indifference is so fragile, terrified and always insecure in nature.

When Albinoni turned his head, they were standing on the edge of a steep cliff. "Losing my love I will sigh and suffer all my life," Albinoni sang, taking Vivaldi's thin arms as they moved to safety.

"You're singing a song I wrote..." Vivaldi said, his smile shy and hazy. "Thank you, Tommaso, every time you use your beautiful singing voice to soothe my anxious heart, but I don't have such a singing voice..."

"Your anxiety is your innate trait, which is manifested in each of your broken chords... The previous chord has not been completed, and the latter one is forcibly inserted. I can't save you." Albinoni quipping, he ran forward.

Albinoni was 7 years older than Vivaldi and died 10 years later. The two spent most of their time in the square inch of their hometown of Venice.However, the two of them in their lifetime did not have so many opportunities to be together now, or, even if they had, they would not be willing.Vivaldi was born in poverty, and he devoted himself to the priesthood not so much because he was inspired by God, but because he made a living. After that, he ran theaters for many years and struggled to make money, and his income was penny-pinching; Albinoni was born in a wealthy merchant family, and his music creation Works created out of interest rather than pressure to earn a living, and created to cater to an audience with contempt.

With the publication of every collection of instrumental works and the performance of every opera, they are vying for the audience and box office.

But today, with Limber two centuries later, none of that makes sense.

"You are in a trance, Antonio..." said Albinoni, as they approached the valley cemetery, "the beautiful Anna Quilo? Are you thinking of her? She first appeared on the Venetian stage in my opera Laodice What about..."

Vivaldi looked embarrassed. "Didn't I tell you that I have absolutely no relationship with her like that..."

"Then what is the truth? You are using her as an excuse to miss Metta's group of female students..."

"No, Tommaso, I just gradually discovered that I can no longer remember their faces and names clearly, and my memory is flying away all the time-even though I have recorded my increasingly scattered memories with a pen, these The text also becomes more and more unfamiliar, pale and illegible..."

Albinoni looked at Vivaldi, who was berating himself for inadvertently bringing up an inappropriate subject. "Antonio, don't feel guilty, why am I not like this? I can no longer recall the faces of my 6 children, and the brush strokes I recorded are so pale. I... only the last fifth of my imprints are left , Therefore, I am relatively satisfied with my memory at this moment... I thought that by this time, I would not be able to remember anything."

Candidates have imprints of thorn roses (that is, the logo of the association), and when all five petals fall off, they will disappear.

Mutual warmth under low-end pain.

"I..." The moss at the feet reminded the priest that they had already arrived in the cemetery.Gates swallowed by plants, statues leaning against moss due to disrepair, tears on the faces of veiled maiden statues turned into dark fissures.Tombstones, engraved with their familiar or unfamiliar names.

There is no more sorrow, because this is their inevitable fate, but to return to the embrace of the land, because they themselves are the souls of the dead.

Albinoni touched the tombstones and sang.

"Let others sing the praises of the God of War." Albinoni sang Monteverdi's (Italian composer, early Baroque) love pastoral, and put his face on the cold tombstone.Claudi Monteverdi is written on the tombstone. "I will never forget your singing, Mr. Monteverdi..."

Too many people have passed away, and the remaining people have no more tears to shed.

This is Lin Bo.

***************************************************************************

Lin Bo in the early 20th century.

A few weeks after Voltaire's visit.

From the small Catholic church on the mountain came the rare cheerful pipe organ music.

"The melody of this pedal...!" Pergolesi kept talking to himself while playing his well-known pipe organ, "No, I can only reach this speed, I can't go any faster!"

On the music stand is the Organ Concerto in D Minor, signed "Johann Sebastian Bach, based on Concerto No. 11 in Vivaldi's "Inspiration for Harmony" Concerto in D Minor for Two Violins, Cello and Strings "adaptation".In that letter, more than 20 years late, Bach attached scores of his three early 18th-century arrangements of the Vivaldi Violin Concerto, namely the Organ Concerto in A Minor (based on Inspiration for Harmony No. 8), C Organ Concerto in major key (based on Op.7No.11), and this one that Pergolesi is playing.

"These pieces themselves have no tempo indication, so you don't have to stick to my original compositions..."

Noticing Vivaldi passing behind him, Pergolesi paused (he was playing a fast 32nd note so he couldn't get distracted), "Father the red-haired priest, I must say that these arrangements are really good! However, I want to say that this diligent German junior must have extraordinary organ playing skills, otherwise, many keyboard players here will not feel comfortable..."

"Thank you for your affirmation, Giovanni," said Vivaldi cheerfully, "I will start writing a letter to Mr. Bach now."

Vivaldi came to his little desk, and while rereading Bach's letters, he picked up the pen (he didn't know how to use this new gadget) and prepared to write.

"Dear Father Vivaldi, dear predecessor... Your lord Johann Sebastian Bach, a composer and keyboard player from Leipzig, Germany, is also one of your many unknown admirers. Although I have never met you before, but please allow me to thank you in this letter for your great help to my study life, and boldly dedicate my humble work to my seniors for consideration..."

Reading the timeless and neat small print, Vivaldi couldn't help drawing an image of a hardworking German youth in his mind.Not only did the two never meet each other when they were alive, but the red-haired priest never noticed this professional German colleague at all.It was not until his time in Linbo that the red-haired priest learned about the contribution of this neglected German colleague to the fusion of Baroque music and the great achievements he had made through the materials sent by the association.

"Dear Mr. Bach... I received your letter recently, and I apologize for my neglect back then..."

Vivaldi tried to restrain his emotions.It is one thing to be moved by this junior who has been silently paying attention to him for many years; however, what is more, since he came to this lonely place, this is the first time in many years that he has been able to talk to people from the outside world, even on paper. on, even 20 years apart.His own name was not lost for a century, but he was never seen as one among the occasional evasions of those few scholars.He is just an ambiguous word, belonging to a very small branch of Bach's research category, unable to speak and soulless.

"...Since my organ can only reach two octaves above middle C, I take the liberty of transposing your original composition so that many passages can be played without lowering an octave; at the same time, I rewrote the Some sections are also to adapt to the range of the organ below."

Although part of Bach's manuscript is currently on Pergolesi's music stand (Pergolesi is still playing happily, "I still prefer the violin version, which is lighter and more dynamic-but please don't take My opinion is written in a letter, I am not serious"), but Vivaldi does not need these originals to accurately quote specific methods of Bach's adaptation.He writes, "You don't have to worry about the range of your organ, in fact your rewritings sometimes have a surprisingly textured effect. In the first movement of the Concerto in C major, you use sixteenth notes to replace me in 93- The triplets in measure 104 have greatly enhanced the contrast effect of the composition; and what I admire most is that you used the 11nd note and the 13th note in the third movement of your D minor concerto in measures 32-[-] instead of me The original vibrato effect..."

Despite the impressive results, the German juniors were cautious. "...In terms of adaptation skills, I have little knowledge, only adjusting the duration of notes, harmony, pitch and other trivial skills."

Vivaldi scribbled a melody on letter paper, citing an arrangement by Bach.Then he wrote, "You don't need to underestimate yourself. Judging from your arrangement of the first movement of the D minor Concerto, you know how to achieve suggestive counterpoint. You noticed the canon writing of my two solo violins, and in the The arrangement incorporates both into the same voice, increasing my duet into a trio with minimal changes. I would be ashamed to say that your talent is not shown in these places."

Bach was respectful and polite, "In order to adhere to the form of the Italian concerto, I have generally not changed the structure of your original work. My adaptations have always followed a rule, that is, to be faithful to your original work. I hope that the elders will not hesitate to criticize and give generously to the younger generation. The younger generation is grateful to Dade .”

Vivaldi continued to be polite, "I am honored to see your adaptation, which is full of freedom and imagination, and uses excellent cadenzas to fill in the potential melodic defects of my original work. However, if your adaptation still has flaws , I would like to mention a couple of things. You need to remember that you are composing for the organ and not just following my original. The big jumps and fast legatoes of the violin can be an uncomfortable experience for a keyboard player. Also, I Have to point out that your adaptation seems to be completely oblivious to the reasonable pace of the original."

Bach restrained his latent enthusiasm, "You taught me how to achieve order, coherence, and proportion in music; and, with all due respect, you reshaped the soul of a music lover."

Vivaldi did not want to be stingy with his admiration at this time, "From your adaptation, I know that a great musician can achieve the birth of a great work, that is, he can use completely new creations, and he can also assimilate the styles of other composers." And reinvent. Even though I value my honor, I would take offense at you if I say that I have learned nothing from your adaptations."

There was a commotion.The brothers Albinoni and Marcello came to the orchestra pit.Is the small band ready for rehearsal this afternoon?

Benedetto Marcello sat down to play the lute, which was the melody of the second movement of the Oboe Concerto in D minor written by his brother Alessandro Marcello, a slightly slower Andante.This piece cannot have an original oboe version, simply because the hapless little band has no replacement oboe reeds.Material is so scarce, they are still having fun in suffering.Pergolesi stopped playing the organ and came to Benedetto's side.This faint and fleeting melody seems to be more representative of the state of mind of these poor people.

Vivaldi, who was never good at petitions, and begging would only be counterproductive, could not help but want to fight for something for the orchestra at this time, but he is so humble that it is not worth mentioning, let alone facing a junior who has never met.As a priest, he was taught from the beginning to resist temptation and restrain his emotions, but he was a Venetian and an artist.

"...you don't have to worry about whether these pieces will be properly reproduced. Our orchestra will rehearse your work. The orchestra here is small and humble, but it has the same enthusiasm as anywhere. Admittedly, Limber is remote , isolated from the outside world, the wind instruments are seriously worn out and cannot be replenished in time, basic accessories are also extremely scarce, and the repertoire we perform is limited to traditional string instruments.”

The end of Bach's letter. "Finally, please allow me to repeat the meaning of Italian music to me. I am fascinated by and learning from the Italian music model. It is not a whim. Other outstanding Italian industry predecessors, such as Albinoni, Pergolesi, Marche Brother Luo, you are all my mentors. Among them, especially your compact and symmetrical concerto structure, let me give up the model of senior Corelli..."

After reading this, Vivaldi couldn't help calling out everyone's names.

Everyone joined together except Benedetto.

"If you tell us the full content of the letter, I will consider responding to the greeting." Alessandro said jokingly.

"It is inappropriate to deal with personal letters like this..." said Albinoni (although in the meantime he had pulled out Vivaldi's unfinished letter and read it with a smile).

"Let's just sign together at the end," Pergolesi said.

"Finally, on behalf of the members of the orchestra: Tommaso Giovanni Albinoni, Giovanni Battista Pergolesi, Alessandro Marcello, Benedetto Greetings from To Marcello (here Alessandro signed his reluctant brother). Antonio Vivaldi."

When the sentence filled with multiple fonts was completed, Vivaldi folded the letter, which was 20 years late, and put it in the envelope.

Remember me but please forget my fate.

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【references】

1. Purcell's composition, sung by Albinoni at the opening, lyrics

Refer to wikipedia Dido's_Lament

2. Description of Albinoni's life

Refer to wikipedia and baroquemusic

3. The part of the letter between Vivaldi and Bach, discussing music theory

Reference: Vincent C.K. Cheung Bach the Transcriber: His Organ Concert s after Vivaldi

4. Passages on Vivaldi, with reference to but not limited to

"The Master of the Baroque"

"The Biography of Vivaldi"

Karl Heller "Antonio Vivaldi The Red Priest of Venice"

【Related Music】

1. Albinoni's song for Vivaldi on the hills of Limber

1.1 Dido's Lament from "Dido and Aeneas" Purcell

1.2 "If I were to leave my beloved, I would sigh and suffer for the rest of my life"

Excerpt from Vivaldi's Giustino (RV711) "With my Beloved / Vedrò con miodiletto

1.3 "Let others sing praises to the God of War"

Monteverdi's "Idyll of Love"

2. Pieces played in the Church of Pergolesi

BWV593BWV594BWV596

[Musicians mentioned in this chapter]

1. Albinoni

托马索·乔瓦尼·阿尔比诺尼（TomasoGiovanniAlbinoni，1671年6月8日－1751年1月17日），意大利巴洛克作曲家。

Albinoni was born in Venice, the eldest son of a wealthy paper maker.He was a singer when he was a teenager, and he was more famous as a violinist, and later engaged in opera and instrumental composition.Because of the discord between father and son, his father exempted him from inheritance in his will in 1709 before his death.From then on, he devoted himself to composing music for his hobby, and ran a very successful art school specializing in training singers.His wife is an opera singer.Albinoni spent his life in Venice, but traveled extensively and was entertained by local notables.He composed 81 operas, but most of them were unpublished and the manuscripts were lost later.He was lucky enough to compose music for musical instruments. He published 10 volumes, which were very popular at the time and were printed many times. Unfortunately, all his music manuscripts and prints were almost destroyed in the bombing of World War II.

Albinoni was good at writing concertos and had an important influence on Bach.His major instrumental works have been recorded on CD.

PS: In my novels, his appearance frequency is still very high, and he can be regarded as the second female (?!).I like to comfort people with singing, and the relationship with Vivaldi in the novel should be regarded as a best friend... The extra episodes at the end of the novel are centered on him, and there is also a chapter dedicated to the bombing of Dresden and the Adagio in G minor story.I believe that readers of Pergolesi, Albinoni and Marcello will probably be able to understand why this novel is Mr. Bach’s harem drama rather than Bach’s love for Vivaldi. …

2. Alessandro Marcello and Benedetto Marcello

The Marcello brothers were also very powerful composers in Venice from the end of the 17th century to the beginning of the 18th century, but they were aristocrats, so composing music was a side job... The Marcello family who opened the opera house "San Angelo Theater", and the theater's The manager Vivaldi, the composers (still Vivaldi, and Albinoni, etc.) broke out a lot of conflicts, so in history, Benedetto Marcello was very unfriendly to Vivaldi. To put it bluntly, a satirical pamphlet "Popular Drama" that has been handed down to this day witnessed the storm in the Venetian theater of the year.This stalk will continue to unfold in later chapters of the novel.

PS: The fraternal Mr. Bach also loves Marcello's works, although he can't compare with his love for Vivaldi or Albinoni, but if you compare Marcello, Vivaldi and Albinoni If the conflict between the two is the focus of the novel, if this continues, the novel will probably become a palace drama!

The author has something to say:

The friend who tried to read said that the music discussion in the article could not be read at all; in fact, in order to allow Bach and Vivaldi to have a high-end and atmospheric dialogue, I read a 17-page English paper... Although I also hope that the two of them Don't be so polite and academic, but it's just so outrageous to talk about me in the first place...

The next chapter may be the best time between Vivaldi and Bach when he was in Limber... I will not say that after the beginning of Chapter 6, the novel fell into a plot of looping bento...