Usted buscó: i do not have a rug in the kitchen (Inglés - Armenio)

i do not sing.
Ես երգում չեմ:

and again he denied with an oath, i do not know the man.
Եւ դարձեալ նա երդումով ուրացաւ, թէ՝ այդ մարդուն չեմ ճանաչում:

and whatsoever ye shall ask in my name, that will i do, that the father may be glorified in the son.
Եւ ինչ որ ուզէք իմ անունով, այն կ՚անեմ, որպէսզի Հայրը փառաւորուի Որդու միջոցով»:

i do set my bow in the cloud, and it shall be for a token of a covenant between me and the earth.
իմ ծիածանը կը կապեմ ամպերի մէջ: Եւ դա թող լինի իմ ու ողջ երկրի միջեւ յաւիտենական ուխտի նշանը:

and say, if we had been in the days of our fathers, we would not have been partakers with them in the blood of the prophets.
«Եթէ մենք մեր հայրերի օրօք լինէինք, մարգարէների սպանութեանը մասնակից չէինք լինի»:

and he said, i will certainly return unto thee according to the time of life; and, lo, sarah thy wife shall have a son. and sarah heard it in the tent door, which was behind him.
Նրանցից մէկն ասաց. «Ես եկող տարի նոյն այս օրերին կը գամ քեզ մօտ եւ քո կին Սառան որդի կ՚ունենայ»: Սառան ականջ էր դնում վրանի դռանը՝ նրա ետեւում կանգնած:

when they have a matter, they come unto me; and i judge between one and another, and i do make them know the statutes of god, and his laws.
Երբ նրանց միջեւ վէճ է ծագում, գալիս են ինձ մօտ: Ես դատում եմ նրանցից իւրաքանչիւրին եւ յայտնում Աստծու հրամաններն ու օրէնքները»:

and, behold, i, even i, do bring a flood of waters upon the earth, to destroy all flesh, wherein is the breath of life, from under heaven; and every thing that is in the earth shall die.
Իսկ ես, ահա, ջրով կը հեղեղեմ երկիրը՝ ոչնչացնելու համար երկնքի տակ գտնուող ամէն մի շնչաւոր էակ. եւ այն ամէնը, ինչ կայ երկրի վրայ, կ՚ոչնչանայ:

and there shall be an hole in the top of it, in the midst thereof: it shall have a binding of woven work round about the hole of it, as it were the hole of an habergeon, that it be not rent.
Դրա վերին մասը շուրջանակի կլոր կտրելով՝ բացուածք կը թողնես: Միացման տեղերը ամբողջական՝ մէկ կտոր թող լինեն, որպէսզի այդ զգեստը չպատռուի:

interlude: “the four seasons” measured in terms of published editions, reprints, documented performances, adaptations, and sustained interest over time, the concertos of le quattro stagioni, together with the collection l’estro armonico, were vivaldi’s most popular works in the eighteenth century, much as they are in our own time.315 for this reason, these four concertos are a particularly important test case for the analytical method outlined in the previous chapters. indeed, the four seasons demonstrate what is possible when vivaldi applies the broad narrative strategies discussed in chapter 6 to the portrayal of a more specific – and (through the use of sonnets and written cues) more explicit – narrative. the present discussion examines the role of scoring and texture, and the contributions of the viola part to the narrative trajectory of the concertos, revealing hitherto-overlooked distinctions in the textures of each concerto and links between scoring patterns and narrative themes across the four concertos.316 although there is a possibility that they were begun prior to the spring of 1718, the exact date of composition for the four seasons is uncertain. for this reason, they have not been included in the analysis of the pre-mantuan works that serves chapters 2- 6. paul everett has convincingly argued that the four seasons were written, in some 315 of these two collections, the concertos of op. 3 appear to have been more popular in great britain during vivaldi’s lifetime, whereas those of op. 8 (especially the four seasons) enjoyed greater fame in france. see michael talbot, “the golden pippin and the extraordinary adventures in britain and ireland of vivaldi’s concerto rv 519,” studi vivaldiani 10 (2010): 87-124; and sylvie mamy, “le printemps” d’antonio vivaldi revu et corrigé à paris par nicolas chédeville, michel corrette et jean-jacques rousseau,” informazioni e studi vivaldiani 13 (1992): 51-65. 316 for discussions of additional expressive and cyclic aspects of these concertos, see everett, op. cit., cesare fertonani, antonio vivaldi: la simbologia musicale nei concerti a programma (pordenone: edizioni studio tesi, 1992), 55-95; and ibid., la musica strumentale di antonio vivaldi. quaderni vivaldiani 9 (florence: olschki, 1998), 319-51. 252 form, far earlier than the date of their first publication (1725) and that the concertos eventually published as il cimento dell’armonia e dell’inventione (the contest of harmony and invention) opus 8 were probably assembled into a collection c. 1720, combining older works with more recent compositions.317 everett speculates that the four seasons originated in the mid-1710s, around the time that a few of vivaldi’s other descriptive concertos began to appear, including the dresden source of la tempesta di mare rv 253 (later revised and published as op. 8 #5) and the cuckow rv 335 (publ. 1717).318 however, the surviving musical texts and sources do not permit us to establish the original date of the four seasons with any certainty, and therefore it is more useful, in the present context, to note that the four seasons were probably written at – or just after – the end of the period examined in chapters 2-6.319 in light of this caveat, and armed with a better understanding of how vivaldi’s handling of scoring and texture in his previous works provided a substantial palette of techniques to draw upon for descriptive 317 see everett, the four seasons, 7-25. attempting to account for the lack of a unified scheme in support of the collection’s title and the uneven balance in the distribution of descriptive and non-allusive concertos in this collection (four vs. two in the first half, one vs. five in the second half), everett suggests that vivaldi’s initial project may have encountered difficulties that forced him to fill out the set with other concertos. if so, i am inclined to suspect a severe shortage of time or sudden change of circumstances, for which many scenarios from vivaldi’s life in 1720 present themselves: the sudden death of the dowager empress eleonora von neuberg in january, the closing of the mantuan theater for a year of mourning, the resulting cancellation of his opera la candace (it is unclear if it was even performed), and vivaldi’s departure from mantua in march. however, i also propose that the “contest” does not have to refer to a blatantly obvious polarization (for modern listeners) across the entire set, as it could be a description of competing demands in the individual concertos – such as the balance between contrapuntal and virtuosic writing in the eleventh concerto – aspects that might not elicit a descriptive title for the concerto. in contrast to everett’s assertions, i do not believe we can be certain that the set fails to deliver on the promise of the title simply because it lacks a clearly organized, unified scheme where two opposing poles are alternately exploited and engaged in an explicit or implicit aesthetic debate. as we have seen in the examples of contrapuntal intricacies among interior voices, vivaldi (unlike, for example, benedetto marcello) often delighted in hiding his sharpest intellectual touches just beneath the surface. 318 ibid., 18. 319 if they had substantially existed by the winter of 1716/17, it is surprising that pisendel does not seem to have acquired a copy of them at that time, considering their subsequent popularity with virtuoso violinists. 253 music, the four seasons merit treatment in a separate section. as we shall see, there are only a few aspects of orchestration in the four seasons that are beyond the scope of the works examined in earlier chapters. at the mercy of nature’s whim: scoring techniques and narrative functions a) melodic one of the strongest examples of vivaldi’s linkage of a scoring technique with a particular class of narrative ideas can be found in his use of full-ensemble parallel monophony (fepm) in the four seasons. the majority of fepm passages occur where the sonnets and inserted textual cues refer to depictions of violent physical motion and unwelcome disturbances, such as thunder (spring/i, summer/ii), violent winds with or without lightning (summer/i, summer/iii, winter/iii), falling down after slipping on ice (winter/iii), or ice being sheared apart (winter/iii). the fact that vivaldi used fepm for the most violent and frightening passages in each concerto shows that he consistently drew upon this technique whenever the extra-musical content called for dark, intense musical expression. it is no coincidence that, with the exception of the main ritornello segment of the finale of summer (a movement that is entirely devoted to the realization of humanity’s fears of nature’s fury), the fepm passages in the four seasons are generally found at the close of a period or movement – the texture being used to dramatically intensify the preceding violence or provide a sense of uniform challenge to the narrative trajectory of the previous passage, thus prompting the soloist to adopt new allusive material in response to the sudden change of events (e.g., the thunder in spring/i, falling down on the ice in winter/iii, etc.). 254 parallel melodic lines (pml) are also associated with images of rigorous motion, albeit without a specific link to positive or negative connotations. most of the relatively few passages of pml provide triadic harmonizations of chords and arpeggios for violins and violas, such as during the illustration of rushing winds (summer/iii and winter/iii) and the stamping of feet in the snow (winter/i). the brief examples of strict two-part pml are found in representations of peasants dancing (spring/iii) and shivering in the cold (winter/i).320 imitation is used less for specific descriptive imagery than as a way to convey motion by outlining wide vertical spaces, such as the high/low exchanges for the drunkards in autumn/i, or to gradually illuminate a scene (almost cinematographically) through the successive entrances that build to a complex chord at the openings of autumn/ii and winter/i.321 by contrast, independent melodic lines (iml), mainly found as brief, interior lines in summer and winter, lack a common allusive purpose in these concertos: in summer they provide an additional voice to maintain rhythmic activity during rests in other active parts, while in winter they tend to occur over pedal points, where they add an extra layer of complexity to the web of contrapuntal activity over the harmonically static bass line.322 320 in spring, third movement, ms. 6-8, and winter, first movement, ms. 20-22. 321 the passage for the drunkards in autumn/i occurs at ms. 41-43, 46, and 48. the alternation between ascending and descending arpeggios here is actually a continuation of an idea introduced by the continuo line in ms. 32-35. 322 see summer, third movement, ms. 21-28 and 55-66; winter, third movement, ms. 27, 29, and 30-38. 255 b) bass as a whole, the four seasons present a wide variety of scoring options for the bass line, including unison bassettos, vertically elaborated bassettos, and vertically elaborated bass lines (whether scored for viola and bass, or for violins, viola, and bass). even vivaldi’s most complex bass-line orchestration – the bass-bassetto compound line – is put to use for the gun shots that accompany the hunt in autumn/iii (as multi-voice relays) and for the staggering drunkards in autumn/i.323 in the realm of bass scorings, bassetto writing in the four seasons emerges with the most distinctive and consistent usage, as the dramatic juxtapositions between a smaller sub-section of the ensemble and the full ensemble are often aligned with sharply contrasted dynamics and tempo and character markings.324 the shifts in texture and scoring allow vivaldi, for example, to differentiate between chattering teeth and stamping feet in winter/i or between buzzing insects and thunder in summer/ii. often, but not always, bassetto scoring is used when the bass line features descending tetrachords or descending scales. apart from those instances, however, bassetto is used more as a way to provide variety during the course of a particular allusion (e.g., the 323 see autumn, first movement, ms. 68-69, and third movement, ms. 82-83, 92-93, 106, and 108-115. users of the dover publications edition of the four seasons [antonio vivaldi, “the four seasons” and other violin concertos in full score, opus 8, complete, ed. by eleanor selfridge-field (mineola, ny: dover, 1995)] should observe that the second violin part in measure 69 of the first movement of autumn is printed incorrectly: it should read identical to the first violin part (rests on beats 1 and 3, pitches on beats 2 and 4) rather than matching the violas and bass – this apparent re-orchestration of the bass-bassetto compound line is actually a product of modern editorial oversight. this passage is given correctly in: antonio vivaldi, le quattro stagioni : da il cimento dell’armonia e dell’inventione op. viii : per violino principale, due violini, viola e basso, edizione critica a cura di paul everett e michael talbot (milan: ricordi, 1996). 324 see, for example, summer/ii, or the alcohol-induced slumber near the end of autumn/i. 256 storms of summer/iii, the peasants dancing in spring/iii, etc.) than for a hint of sonic realism. in at least one case, the bassetto is even used to link descriptive content between two concertos of the set. paul everett has posited that the gentle sirocco winds in the finale of winter are a cyclic reference back to the opening of summer (both passages include measures in triple meter that begin with a rest on each downbeat), but there is another connection between the sirocco passage in winter and the light rustling of the cool breeze (the zephyrs) in the first movement of summer: these passages are linked by a common theme of bringing welcome relief from the harsh realities of their respective seasons, and in a metaphysical sense they represent the only overtly positive moments in the narratives of their respective movements.325 not only are these two passages boldly set apart from the surrounding material by the use of the bassetto and a change of melodic-motivic material, but the passage in winter additionally involves a closed harmonic period in e-flat major (in an f-minor movement) and a change of tempo (from allegro to lento).326 yet a less obvious link between these two examples is provided by the fact that these are the only instances in the whole cycle where bassetto scoring is used outside of a solo episode. rather than being sui generis, these memorable passages can be traced back to vivaldi’s previous examples of bassettos in ritornellos and other non- 325 see everett, op. cit., 71. 326 to my mind, the tempo change (which parallels the change near the end of autumn/i) and tonal surprise wrought by the passage in winter (which is approached by an unresolved dominant seventh of c minor) provides the strongest indication that vivaldi composed the four seasons with all or most of the details of the sonnets already in mind, whether or not he penned the sonnets (or arranged for their provision) before, after, or simultaneously with the composition of the concertos. 257 solo periods; now vivaldi has enlisted this combination of scoring and formal function to serve a narrative purpose and contribute a degree of cyclic unity. c) rhythm the rhythmic vitality and intricacy of the four seasons owes much to the vocabulary vivaldi had already developed in his earliest works, as we saw in chapter 4. sostenuto writing, for example, not only provides for a sense of stasis before or after a period of motion (as in the famous “sleep” movement of autumn, where all of the parts employ sostenuto writing); it is also used as a foil to simultaneous motion in other parts (e.g., the murmuring springs in spring/i, the bagpipe drones accompanying the peasant dancing in spring/iii, or the slippery ice in winter/iii). one of vivaldi’s best examples of using a single part to provide the sostenuto backdrop for complex rhythmic activity is found in winter/ii: here the viola (marked “pp”) plays long durations almost continuously throughout the movement – much longer durations than all of the other voices (some notes are held for several measures).327 set against the moderately quick perpetual- motion pizzicato arpeggios of the first and second violins, the rapid perpetual-motion octave leaps of the obbligato cello, the steady pulse of eighth notes in the continuo bass, and the lyrical melody of the solo violin, the viola provides the sustained sound that binds together individual phrase units and emphasizes certain harmonic felicities that might otherwise be lost in the activity of the other parts (such as the suspensions in measures 3 327 if the continuo line is harmonized on an organ, the viola might not be the only real sostenuto voice in this movement, but vivaldi’s scoring assures that, in the absence of organ continuo, there will be at least one sustaining voice throughout. 258 and 4).328 in the absence of obbligato parts for wind instruments, the viola is a good choice for sostenuto writing in the center of the ensemble ambitus, and it helps vivaldi to differentiate between the treble-register rhythms of the violins and the activity of the cello and bass in the lower registers, all without obscuring the cantabile melody of the solo violin.329 this is an extreme case of using sostenuto writing nearly continuously in a single interior part, but it is rooted in vivaldi’s earlier forays into sostenuto writing for individual voices. once again, vivaldi took a scoring concept from his existing arsenal and deployed it in a particular way as a response to the narrative demands of a particular piece. most of the remainder of the rhythmic scoring in the four seasons can similarly be traced to vivaldi’s pre-mantuan practices, although many of the particular techniques are now used to underline individual allusive gestures. full-ensemble rhythmic unison primarily occurs in ripieno passages from summer, autumn, and winter, where it focuses attention on a single type of motion that is central to the narrative of the extra- musical program (e.g., the force of surging winds, a simple peasant dance, stamping feet in the snow, shivering in the cold, etc.). compound rhythmic lines in summer/iii create the impression of storm forces blowing from all directions and bustling activity divided 328 an interesting cousin of this movement, which to my knowledge has not previously been noted, is the slow movement of the concerto for strings in d minor rv 128. in that movement, the interweaving violin parts are accompanied by a viola part that provides sustained harmonies (quarter notes, half notes, and long pedal points) and, as with the obbligato cello in winter/ii, a highly active bass line. the date of rv 128, in relation to the four seasons, is not currently known. 329 vivaldi only specifies that the pizzicato violins are the “rain” mentioned in the sonnet. perhaps the viola line can be heard as the warmth of the fire (with the flickering flames presented by the leaping octaves of the obbligato cello) or a sense of calm protection inside from the harsh winter elements outside. 259 across the ensemble.330 to portray the barking dog in the slow movement of spring, vivaldi writes a ubt for the viola part that consists of a syncopated pattern, which also provides a rhythmic foil to the metrically regularized placement of the solo violin’s phrases.331 one of the most striking rhythmic differences in the four seasons, when compared with the definitely pre-mantuan works, is the greater prevalence of thirty- second notes in the non-soloistic parts. this expansion of the rhythmic vocabulary is felt most strongly in the viola part, which rarely includes passages of thirty-second notes in the pre-mantuan works.332 yet, this increased rhythmic demand in the viola part is also motivated by the narrative goals of these concertos, as these passages occur in full- and partial-ensemble rhythmic unisons (feru and peru) where the viola helps to reinforce the rhythmic profile of other voices as they generally depict vigorous or violent motion (e.g., storms, thunder, and dogs chasing the wild beast). 330 see summer, third movement, ms. 21-28 and 55-66. 331 this is another example of a movement with distinct rhythmic layers arranged, from shortest to longest durations, as violin 1 & 2, viola, and principal violin. here (unlike winter/ii but similar to summer/ii and the slumber section near the end of autumn/i) it is the solo violin that provides the most sustained lyrical line, although i would not classify it as an example of a sostenuto textural element because it serves a melodic rather than harmonic-rhythmic purpose. 332 the main exception is in the seventh movement of the dixit dominus rv 595. the pre-mantuan works require scalar figures (violins only) and measured tremolos (violins and violas) in thirty-second-note passages, but the viola parts in the four seasons incorporate both types of material as well as undulating leaps – up to the width o
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