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|  Christopher Palameta
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More Less | | Questions answered: 1, Questions asked: 0 Easy / 0 PRO | | 0 entries | | Visa, Wire transfer, Check, Money order | Sample translations submitted: 1French to English: Johann Gottlieb Janitsch (1708-1763): Five quadro sonatas
General field: Art/Literary
Detailed field: Music | Source text - French
Le style immédiatement reconnaissable de Janitsch est dû principalement à certaines formules que l’on remarque à travers son œuvre. Son penchant pour les syncopes, tout comme chez Graun, crée un effet galant qui teinte plusieurs de ses lignes mélodiques. Cependant, c’est dans les cadences qu’apparaît la signature révélatrice de Janitsch, où l’une des trois voix supérieures est dotée d’un triolet qui descend rapidement de la tierce à la fondamentale de l’accord.
Une autre des techniques préférées du compositeur est d’ajouter une codetta à la fin des premiers mouvements, qui rappelle la coutume française de la petite reprise. La basse exécute une cadence et tient une pédale pendant que les trois dessus concluent avec une idée subsidiaire qui termine en suspension. Ce phénomène se produit dans quatre des cinq sonates présentées sur ce disque.
Janitsch utilise souvent un procédé semblable dans ses mouvements rapides lorsqu’un des dessus cadence et se retire précipitamment, laissant la dernière mesure aux deux autres voix. Dans le contexte d’une prestation, ce phénomène provoque une situation un peu cocasse dans la mesure où celui ou celle qui ne joue plus se retrouve à observer ses collègues achever le mouvement.
La sonate en mi mineur op. 5, d’un air décidemment galant, est unique parmi les quatuors étant donné qu’elle est la seule que l’on connaisse pour trois voix altos. L’œuvre fait appel à une viola pomposa, un alto qui aurait joui d’une tessiture élargie dans l’aigu grâce à une cinquième corde de mi. La complexité rythmique du thème du deuxième mouvement, ses gestes urgents et ses sauts d’octave, ainsi que son mode mineur anxieux, rappellent les sonates flamboyantes pour clavier de C. P. E. Bach et témoignent de l’interaction quotidienne et de la complicité probable entre ces deux compositeurs. Dans le vivace, Janitsch démontre son habileté dans la tessiture grave des altos (ce qu’un autre compositeur aurait pu trouver contraignant), allant jusqu’à créer un mouvement entier basé sur l’échange de voix. La mesure à 12/8 de l’affettuoso, selon Johann Mattheson, est bien adaptée pour évoquer les affects mélancoliques et touchants. Quantz spécifie qu’un « alla Siciliana, dans la mesure de 12 pour 8 mêlée des notes pointées, doit être joué fort simplement, presque sans tremblemens et point trop lentement. On n’y peut employer guère agrémens, exceptés quelques double croches coulées et quelques ports de voix. »
Soulignons tout particulièrement le quadro en sol mineur, « O haupt voll Blut und Wunden ». Cette sonate est la seule parmi les vingt-sept quadri comprenant quatre mouvements. Non datée, elle est très probablement une œuvre hâtive dans la mesure où les trois sonates en trio de Janitsch à quatre mouvements datent toutes des années 1740. L’œuvre contient un deuxième mouvement lent dans lequel le hautbois chante plaintivement le cantus firmus de l’hymne luthérien « Ô visage couvert de sang et de blessures » alors que le violon et l’alto tricotent une dentelle contrapuntique élaborée en dessous. Cet adagio, en fa majeur, brise non seulement la forme en trois mouvements préférée par l’école de Berlin, mais il est également le seul mouvement dans le répertoire janitschien qui brise le plan tonal homogène dans une même œuvre. Le hautbois à deux clefs est particulièrement bien adapté à la tonalité de sol mineur, étant donné que les deux bémols créent un équilibre optimal entre la clarté des doigtés ouverts et les couleurs voilées des doigtés fourches. Cette sonate, sans doute l’œuvre la plus célèbre de Janitsch au XXIe siècle, est également l’une de ses plus ravissantes.
| Translation - English
Janitsch’s immediately recognizable style is due chiefly to a number of motives that are encountered throughout his oeuvre. His love for syncopation, inherited directly from Graun, creates a galant effect that imbues many of his melodic lines. However, it is in cadences of all sorts that Janitsch’s telltale signature appears, where one of the three upper voices is given a quick descending triplet from the third down to the root of the chord.
Another of the composer’s favourite techniques is to add a tail at the end of first movements, reminiscent of a French petite reprise. The bass cadences and remains on a pedal tone for the final bar while the upper voices conclude with an afterthought that ends in a suspension. This occurs in four of the five sonatas presented on this disc.
Often, a similar feature occurs in fast movements where one of the upper voices will cadence and withdraw precipitously, leaving the final measure to the other two voices. In a performance setting, this leaves the performer whose line has been “cut short” with the amusing task of looking on while his or her partners end the movement.
The decidedly galant Quadro in E minor, op. 5B, is unique among the quartets in that it is the sole work featuring three alto voices. The work calls for viola pomposa, a viola that would have had the extended upper reach afforded by a 5th E string. The rhythmic complexity of the second movement’s theme, its urgent gestures and octave leaps, as well as its anxious minor mode, are reminiscent of the flamboyant keyboard sonatas of C. P. E. Bach and bear witness to the daily interaction and probable affinity between the two composers. In the Vivace, Janitsch demonstrates his comfort in the lower alto tessitura (which other composers might view as confining), going so far as to create an entire movement based on voice exchange . The 12/8 meter of the opening Affettuoso is, according to Johann Mattheson, well-suited for evoking sad and touching affects. Quantz states that “an alla Siciliana in twelve-eight time…must be played very simply, not too slowly, and with almost no trills.”
Special mention must be made of the Quadro in G minor, “O haupt voll Blut und Wunden”. This sonata is the only one among the twenty-seven quadros that contains four movements. Undated, it is most likely an early work seeing as how the three remaining four-movement pieces by Janitsch (all trio sonatas) are datable to the 1740’s. In the third movement Adagio, the oboe “sings” the Lutheran chorale “Oh head full of blood and wounds” intact, while the violin and viola weave intricate tracery beneath the hymn. The movement, in F major, not only breaches the composer’s signature three-movement form, but it is also the only movement in Janitsch’s repertoire that, within a single work, breaches the homotonal scheme. The early oboe is particularly well-suited to the key of G minor, - the tonality creates an optimal balance between the clarity of open fingerings and the more veiled colours produced by cross-fingerings. This quadro, perhaps Janitsch’s best-known work in the 21st century, is also one of his most arrestingly beautiful.
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More Less | | MA-Concordia University (Montreal, Quebec, Canada) | | Years of translation experience: 5. Registered at ProZ.com: Oct 2009. Became a member: Oct 2009. | | N/A | | N/A | | N/A | | Adobe Acrobat, Adobe Photoshop, DejaVu, Indesign, MemoQ, Microsoft Excel, Microsoft Word, Powerpoint, SDL TRADOS, SDLX | | Christopher Palameta endorses ProZ.com's Professional Guidelines. | | About me
I am a professional translator operating out of Montreal (Canada) and Paris (France), specializing in French > English and Spanish > English language pairs.
As a native English speaker, I've been engaged in localization and translation for five years, accumulating rich and extensive experience in translation, editing, proofreading and quality assurance.
My fields of expertise include marketing, employment/human resources, IT, arts and entertainment, travel and tourism, and transport and logistics. I never miss a deadline, and take pride in delivering the highest-quality translations.
I've worked as a Project Manager for a Parisian translation agency (Lexcelera), and have therefore been exposed to VIP client needs and expectations, client liaising, invoicing, quality assurance, and linguistic team selection.
I possess native fluency in French, and readily integrate the nuances of the French language into my English translations. Prior to beginning each project, I do preliminary research that helps me in producing a high-quality translation.
Prior to translation, I worked for over 10 years as a professional oboist in a wide array of international classical music ensembles. My playing can be heard on over 30 commercially available classical music recordings (labels include Sony BMG, Deutsche Harmonia Mundi, Naxos, ATMA Classique, etc.)
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