V četrtek, 11. aprila 2024, so v Tartinijevi hiši predstavili anastatičen ponatis Tartinijevega GLASBENEGA TRAKTATA NA OSNOVI PRAVE ZNANOSTI O HARMONIJI (Padova 1754), ki jo je pripravila Margherita Canale Degrassi. V sodelovanju z Istrskim društvom za arheologijo in domoznanstvo APS.
Sledil je RECITAL violinskega mojstra PAOLA GHIDONIJA.
Prisotne so pozdravili in nagovorili podžupan Občine Piran Christian Poletti, predstavnik Skupnosti Italijanov Piran Andrej Rojec in predsednica SI Giuseppe Tartini Fulvia Zudič, ob prisotnosti podžupanje Občine Piran Manuele Rojec.
Organizator: Združenje Skupnost Italijanov Giuseppe Tartini Piran ob podpori Občine Piran
Kdor pozna Tartinijevo zapuščino, ve, da najslavnejši piranski meščan ni bil samo violinist in skladatelj, ampak tudi eden najbolj iskanju odgovorov na vseskozi porajajoča se vprašanja predanih mislecev 18. stoletja. In čeprav mu tega za časa življenja niso priznali, predvsem zato, ker njegovih teorij niso znali ne potrditi ne ovreči, je danes še kako jasno, da so te, zgolj na izjemni intuitivnosti temelječe hipoteze, še kako pravilne.
Svoja razmišljanja o glasbi, predvsem njeni prvinski sestavini, to je zvoku, se je Tartini, za razliko od rokopisov, ki jih ni nikoli objavil, odločil deliti z javnostjo v publikaciji z naslovom Glasbeni traktat na osnovi prave znanosti o skladju. Izdali so jo v Padovi leta 1754, v Tartinijevi hiši v Piranu pa so v sklopu letošnjega praznovanja obletnice rojstva prav tam rojenega violinista predstavili anastatični ponatis njegovega znanstvenega prvenca. Zanj so poskrbeli v Istrskem društvu za arheologijo in domoznanstvo APS.
Predsednica društva, ki letos praznuje 140 let obstoja, Grazia Tatò je pojasnila, da so se za ponatis odločili, ker tovrstne knjige niso dostopne javnosti, s ponovno izdajo pa jih lahko znova približajo ljudem.
V Tartinijevi rojstni hiši je to storila muzikologinja Konservatorija za glasbo Giuseppe Tartini iz Trsta Margherita Canale Degrassi, ki je najprej izpostavila nekakšen dvom vase, ki je Tartinija tako preveval, da na naslovnici izvirne izdaje publikacije zaman iščemo njegovo ime.
»Iz ohranjenih pisem vemo, da je pisal mnogim matematikom, fizikom, celo filozofom tistega časa, da bi mu potrdili njegove teorije, a nihče jih ni razumel. To si je razlagal tako, da je v njihovih očeh »samo glasbenik«, brez kompetenc za matematično in fizikalno področje,« je pojasnila muzikologinja.
Kot je povedala, je s publikacijo želel dokazati, da znanstvene osnove pravil, ki se nanašajo na celotno konstrukcijo glasbe, izvirajo iz narave. Pravila harmonije torej niso izum skladatelja, temveč imajo svoj naravni izvor v frekvenci zvoka.
V središču teorije se nahaja slavni akustični fenomen, ki ga je poimenoval Il terzo suono (Tretji ton), o katerem se v povezavi s Tartinijem veliko govori, razumejo pa ga malo manj.
»Tretji ton se pojavi ob zvenu dveh čistih tonov, torej takih, ki sledita naravnim vibracijam, takšnim, kot obstajajo v naravi. Ta tretji ton je nižji in bolj grob,« je Tartinijevo hipotezo skušala poenostaviti Canale Degrassi.
V slovenski literaturi ta pojav imenujejo diferencialni ali tretji kombinacijski ton, pojasnjujejo pa ga tako, da nastane kot razlika frekvenc dveh tonov.
Izkazalo se je, tako Margherita Canale Degrassi, da je tretji ton temeljni zvok harmoničnega akorda. Danes vemo, da je zvok sestavljen iz mnogih frekvenc, saj lahko s pomočjo sodobne opreme različne komponente zvoka v t.i. frekvenčnem spektru tudi vidimo.
Kljub takratnim kritikam Tartinijevih dognanj, ki so obstoj tretjega tona pojasnjevali kot psihofizični pojav, torej nekaj, kar nastane le v človeških možganih, so bile te v devetnajstem stoletju in v novejšem času prav zares znanstveno dokazane.
»Leta 2019 je fizikom, raziskovalcem Univerze v Pisi uspelo zaznati ta nižji zvok, s čimer so dokazali objektivni obstoj tretjega tona,« je dodala muzikologinja.
Svoja odkritja, čeprav brez znanstvenega potrdila, je Tartini uporabljal tudi pri svojem ustvarjanju. Na teorijo tretjega tona se je naslanjal pri skladanju, pa tudi pri uglaševanju inštrumentov.
Po novih teoretičnih spoznanjih je prišla na vrsto glasba. Violinska glasba. Vrhunska glasba v izvedbi vrhunskega violinista. Tartinijeva glasba in glasba njegovih sodobnikov. Z lokom in violino je obiskovalce popolnoma prevzel mojster Paolo Ghidoni, ki je pripravil pravi glasbeni recital, ki ga je začel, kot se spodobi, s Tartinijevo sonato za violino, nastalo v obdobju, ko se je bolj posvečal poučevanju kot koncertiranju. Po Ghidonovih besedah je sonata pomembna zaradi teme, ki vsebuje nekakšen skupek Tartinijeve violinske šole in njegovega glasbenega razmišljanja, v njem pa izstopajo za tisto obdobje ekstremni intervali, ki jih je nosilec naziva »prva violina Evrope« zaigral na ekspresiven način.
Paolo Ghidoni je prvič obiskal Tartinijevo hišo lani, ko je bil tako navdušen, da je za učence osnovnih šol pripravil kratek recital. Letos se je z veseljem vrnil in se predstavil še odraslemu občinstvu, ki ga je s svojo virtuoznostjo ganil prav tako kot mlajše obiskovalce.
Besedilo in foto: Nataša Fajon
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