MUNICIPAL EDUCATIONAL INSTITUTION
SECONDARY SCHOOL No. 5
“It’s like the inside of a cathedral -
The expanse of earth, and through the window
Sometimes it’s given to me to hear.”
B.L.Pasternak
REGIONAL COMPETITION OF CREATIVE WORKS OF STUDENTS “ETERNAL WORD”
Abstract on music
“Sacred music in the works of Russian composers D.S. Bortnyansky, P.I. Tchaikovsky,
S.V. Rachmaninov"
Leader: Completed by: Music teacher, 7th grade student
Gurina Veronika Anatolyevna Milovanova Natalya
Svetly
1. Introduction. - 3
2. Spiritual and church music in the works of D.S. Bortnyansky. – 4
3. Spiritual and church music in the works of P.I. Tchaikovsky. – 5
4. Spiritual and church music in the works of S.V. Rachmaninov. – 7
5. Conclusion. – 8
Introduction
Over the millennium of Christianity in Rus', the Orthodox Church has accumulated vast experience in singing , since the power of impact of the human voice cannot be surpassed by any musical instrument. Through the centuries, chants of amazing beauty have reached us; they are striking in their diversity, sophistication and completeness of melody.
The art of church singing has been very close to Russian people for many centuries. Orthodox prayers were sung not only in churches and monasteries, but also at home. Church singing accompanied the entire life of an Orthodox person in Rus'. Everyone is great church holiday had its own musical flavor. Many chants were performed only once a year, on a certain day. Very special chants sounded during Lent - they created a repentant mood, and on Easter every church was filled with solemn and jubilant Sunday chants.
In my work, I set myself the goal of showing the richness of the Russian spiritual musical heritage using the example of the work of composers D.S. Bortnyansky, P.I. Tchaikovsky, S.V. Rachmaninov.
The following tasks will help me achieve this goal:
Acquaintance with the spiritual and church culture of the Russian people;
Acquaintance with innovations in church choral music by composers;
Introduction to the genres of church and sacred music;
Reflect the mood, depth of experience, the subtlest shades of the emotional state of composers.
Bortnyansky Dmitry Stepanovich
The development of Russian sacred music followed complex and ambiguous paths; it absorbed much from world musical culture - Polish, Italian, etc. However, in the 18th century there was a turn to the most ancient Russian chants. This played a huge role in the work of many Russian composers, in particular, such global geniuses as D.S. Bortnyansky, P.I. Tchaikovsky and S.V. Rachmaninov. Russian musical culture has developed - new style and new musical and choral forms. One of the genres, quite new in form, but organically included in the Orthodox cultural tradition, was the spiritual concert. The names of the above-mentioned composers are associated with the genre of spiritual concert.
As you know, the favorite book of prayers in Rus' has always been the Psalter. The prayer poetry of King David could give expression to any feelings - joy and sadness, sorrow and jubilation. Already in the 17th century, the poet Simeon of Polotsk made a poetic arrangement of the Psalter, which was soon set to music and used outside the church, in home use. In the 18th century, composers wrote spiritual concerts primarily based on the words of psalms. The author usually did not take the entire psalm, but only some phrases-verses from the psalm, based on his plan.
The composer who brought universal recognition to this genre was Dmitry Stepanovich Bortnyansky, the author of more than a hundred spiritual concerts. D.S. Bortnyansky worked very successfully in secular genres, but it is his spiritual concerts that are recognized as the pinnacle of the composer’s creativity.
The spiritual choral concert provided great scope for personal creativity. A much more difficult creative task was creating music for chants included in the strict liturgical canon. Knowing human voices well, Bortnyansky always wrote easily and achieved excellent sonority. But the rich sound side of his chants does not serve his purpose and does not obscure their prayerful mood. That is why many of Bortnyansky’s compositions are eagerly sung even now, touching those who pray.
He was the first to experience the harmonization of ancient church melodies, set out in monophony in books of church songs published by the Holy Synod for the first time in 1772. Bortnyansky has few of these harmonizations: irmos “Helper and Patron”, “Virgin today”, “Come, let us please Joseph” and some others. In these transcriptions, Bortnyansky only approximately preserved the character of church melodies, giving them a uniform size, placing them within the framework of European tonalities of major and minor, which sometimes required changing the melodies themselves, and introduced chords into the harmonization that were not characteristic of the so-called church modes of melodies.
Sacred music in the composer’s work
Tchaikovsky Pyotr Ilyich
The great Russian composers of the 19th and early 20th centuries attended church services, and church singing often evoked a creative response and inspiration in them. M.A. tried his hand at church songwriting. Balakirev, N.A. Rimsky-Korsakov, A.K. Lyadov, M.M. Ippolitov-Ivanov and many other outstanding Russian composers. Individual chants from the main Orthodox service - the Liturgy - were written by D.S. Bortnyansky, M.I. Glinka, A.A. Alyabyev and others. But it was P.I. Tchaikovsky undertook the effort to create a complete, complete musical composition, covering all the chants that make up the Liturgy.
Tchaikovsky was driven by the desire to bring his contemporary author's church singing creativity into conformity with the ancient traditions of Russian church singing culture. In one of his letters, he wrote: “I want to try to do something for church music (in this regard, the composer has a huge and still barely touched field of activity). I recognize some merits of Bortnyansky, Berezovsky and others, but to what extent their music is in little harmony with the Byzantine style of architecture and icons, with the entire structure of the Orthodox service!
This desire resulted in two monumental works - “Liturgy” and “ All-night vigil" Tchaikovsky wanted to create compositions that were essentially ecclesiastical in nature, which would be connected both by their structure and traditional sound with Orthodox worship.
P.I. Tchaikovsky also turned directly to ancient Russian music. In the “Vespers” he wrote, many of the chants are a harmonization of the melodies of different chants. In one of his “Cherubic Songs,” which the composer treasured most of all, he, in his words, “tried to imitate non-notated church singing,” that is, ancient singing, written in a “banner.” “Liturgy” and “Vespers” by Tchaikovsky are similar to thesis and antithesis, and the cycle “Nine Spiritual Musical Compositions” became the synthesis and pinnacle of Pyotr Ilyich’s church music.
The composer's pen includes the “Liturgy of St. John Chrysostom", "All-Night Vigil", cycle "Nine Spiritual Musical Compositions", Hymn in Honor of Cyril and Methodius. Gaps of only a few years separate Tchaikovsky's church works from each other, but the semantic distances between them are much wider. This is especially true for the “Liturgy” and the “All-Night Vigil.” The difference between them was quite accurately defined by the composer himself: “In the Liturgy, I completely submitted to my own artistic impulse. The Vigil will be an attempt to return to our church its property, which was forcibly taken from it. I am not an independent artist in it at all, but only a translator of ancient tunes.” Tchaikovsky became interested in the history of church singing, began studying customs and regulations, listened to and compared singing in the Lavra and other monasteries and churches in Kyiv.
Complex, ambiguous and, despite all the “buts,” a beautiful phenomenon, Tchaikovsky’s sacred music appears in the context of Russian culture.
Sacred music in the composer’s work
Rachmaninov Sergei Vasilievich
S.V. also paid great attention to church music. Rachmaninov.
Rachmaninov also studied Tchaikovsky’s “Liturgy” as a model. However, unlike Kastalsky, in “Liturgy” Rachmaninov did not take directly ancient chants as a basis. In line with the stricter church singing tradition, Rachmaninov performed in his “All-Night Vigil,” which he wrote five years after the “Liturgy.”
Rachmaninov was one of the few who set his artistic task to recreate the spiritual musical culture of ancient Rus' at a new level, and again clothe the divine service in the fabric of znamenny chants. After all, Znamenny singing is not only a homophonic form of music written in signs, but also, first of all, the spiritual musical culture of ancient Rus', inherited from the osmophony of John of Damascus-Octoechos.
Even during Rachmaninov’s lifetime, a number of cases were known when his music brought healing. It has spiritual richness, extraordinary majesty, colorfulness, tenderness and dreaminess. She tells the world about God and about the beautiful Holy Rus' that loves Him, singing His glory with its unique bell voice... About Russia, whose endless expanses are decorated with majestic churches filled with miraculous icons, sublime prayers and spiritual chants... Almost no one remembers such a Russia and knows, but little Seryozha Rachmaninov knew Her like that...
In the summer of 1990, returning to Russia from America, he wrote the Liturgy of St. John Chrysostom. While working on the Liturgy, the composer more than once turned to the authoritative master of church music Alexander Kastalsky. Thus, Rachmaninov’s first attempt to again clothe church prayer in the fabric of ancient Russian famous chants did not meet with sympathy. But it served as a preparatory step for the creation five years later of an even more majestic “All-Night Vigil”, which served as a symbolic completion of the Russian period of the great artist’s work, and which became his testament to Russia, which was plunging into darkness. And, perhaps, in confirmation of his thoughts about the need to return the liturgical regulations to Russian Znamenny music, and about its deep connection with the legacy of the Osmoglasy, Rachmaninov again stands at the conductor’s stand Bolshoi Theater to unforgettably perform the cantata of his teacher S.I. Taneyev "John of Damascus".
Conclusion.
One of important means Communication in the life of mankind has always been and remains music. And, above all, already at the earliest stages of human development, sounds played a sacred, liturgical role; from the very beginning, music served a higher principle. With the help of singing, melody, and harmonic consonances, people are given the gift of expressing and understanding their deepest aspirations, innermost impulses, reverence and love, something that cannot be expressed in any words. The spirit of the Russian people, the basis of its cultural existence, was created by the Orthodox worldview.
The entire wealth of sacred music, unfortunately, remains “closed” for many, even specialists. In everyday modern practice, in Orthodox churches, only late spiritual music is played, and even then it is often not the best samples, limited to the framework of church everyday life. Therefore, many people, hearing singing in a church, perceive it as something deeply alien to Russian culture. Orthodox tradition, and the idea that the singing that they are used to hearing in church now was formed under the influence of Western European Catholic music seems simply blasphemous to many.
The revival of parishes and monasteries, the lifting of unspoken bans on the participation of secular singers in church singing, the publication of gramophone records and cassettes with church chants, experiments in restoring ancient Russian melodies - all this led to the fact that, of all types of church art, church singing received greatest development.
MUNICIPAL EDUCATIONAL INSTITUTION OZERSKAYA SECONDARY SCHOOL NAMED AFTER DMITRY TARASOV
Abstract on the topic
Sacred music in the works of Russian composers.
P. I. Tchaikovsky, S. V. Rachmaninov, D. S. Bortnyansky
Completed:
Butsenko Evgenia Sergeevna,
11th grade student
Supervisor:
Lushnikova Olga Vladimirovna,
history and social studies teacher
Ozersk
2011
INTRODUCTION
Music is the greatest consolation:
it refreshes the heart and gives it peace.
Martin Luther
Sacred music is the music of religion, the music of faith. Its development in the 18th – first half of the 20th centuries is associated with the names of great Russian composers who became famous throughout the world. Dmitry Stepanovich Bortnyansky, Pyotr Ilyich Tchaikovsky, Sergei Vasilyevich Rachmaninov created Orthodox music.
But what exactly place did religious music occupy in the work of these composers? Was it dominant in their work? Did the sacred music created by the great musical thought of these composers manage to gain recognition from knowledgeable people? What contribution did she make to the minds and hearts of people? The answers to these questions lie in the music itself, composed of notes. And life itself, the course of which opens up over time, is capable of answering them.
By studying the biographies of D. S. Bortnyansky, P. I. Tchaikovsky, S. V. Rachmaninov, you can see not only the past, but perhaps also the present, get answers and understand whether their music has become a spiritual value.
DMITRY STEPANOVYCH BORTNYANSKY
Bortnyansky wrote sacred, secular (opera, instrumental) music. But secular works The composer's works have practically not survived; most of them were lost and forgotten. Bortnyansky’s works of sacred music had a different fate. Numerous spiritual choral concerts, songs of praise, and liturgies were republished many times even after Bortnyansky’s death. During the composer's lifetime they were performed tirelessly. Being the first head of the Court Singing Chapel since 1796, Bortnyansky put it in the service of church singing, which had a huge impact on the development of church music in the 19th century. The composer was committed to preserving the purity of sacred music, protecting it from pretentiousness and inappropriate musical decorations, as evidenced by numerous decrees issued on the initiative of Bortnyansky. But in his church work, “director of vocal music” (the composer received this title as the head of the chapel) could not avoid borrowing from works of secular music. Some of Bortnyansky’s church works are distinguished by their excessive “concert” quality. This can be explained by the strong influence of the metropolitan lifestyle and public taste, which was focused on excessive pomp and luxury in everything, including music. Taking advantage of achievements in the field of opera and instrumental music, Bortnyansky, in the wake of this spirit of secularism, created a new style of choral singing, which was highly appreciated by the composer’s contemporaries, but criticized by the next generation, who condemned such self-will in church music (among Glink’s critics was Mikhail Ivanovich, who called Bortnyansky "Sugar Medovich Patokin").
Despite the criticism and the centuries that have passed since the life of Dmitry Stepanovich Bortnyansky, the fruits of his spiritual creativity are highly appreciated. Cherubic Hymn No. 7, Lenten trio May it be corrected
my prayer, irmos of the canon of St. Andrey Kritsky Helper and patron, Christmas and Easter concerts are still performed in Russian churches.
The composer's name is associated with the first experience of processing ancient church chants. In the future, this idea of returning to national principles in music was widely developed.
How sorrowful are you, my soul?
Why are you embarrassing me?
PETER ILYICH TCHAIKOVSKY
Pyotr Ilyich Tchaikovsky is one of the greatest composers. His musical heritage occupies an important place in spiritual life. Tchaikovsky's operas, symphonies, ballets, and concerts are known and revered all over the world. The work of Tchaikovsky and sacred music are not ignored. But about this aspect musical path The composer’s work is not known as widely and completely as about his secular work. This is largely due to the fact that the composer’s religious works were not accepted by his contemporaries. They have been treated with extreme prejudice for many years. Tchaikovsky's work in the religious direction was attributed to excessive impudence of interpretation. Created by Tchaikovsky in 1878 Liturgy of St. John Chrysostom, became the first liturgy performed in a secular concert, which attracted a lot of indignation. The composer was accused of insufficient spiritual depth of his works, of predominance of the secular over the spiritual. The misunderstanding was so great that the liturgy was prohibited. It took years of litigation for Tchaikovsky's work to be heard again.
Despite the condemnation of the predominance of the secular in his spiritual work, Tchaikovsky sought to get closer to the origins of the tradition of religious music, and sought to overcome “Europeanism” and excessive pretentiousness.
One of the significant milestones in Tchaikovsky’s work as a spiritual composer is associated with his work on the “Complete collection of spiritual and musical works of D. S. Bortnyansky.” During his work (1881), Tchaikovsky created a work that preserved Bortnyansky’s works for future generations. Tchaikovsky's own attitude towards the works included in the collection was ambiguous. Tchaikovsky rated some of Bortnyansky’s concertos very highly, but for the most part
these works did not find a response in Tchaikovsky’s soul. He considered them too sweet for church singing.
The next composition for church (“All-Night Vigil”) was created by Tchaikovsky in 1881. Following All-night vigil followed Nine spiritual and musical compositions and choir Angel crying. These church works by the composer are still performed today.
The light of faith penetrates more and more into my soul
,... I feel that I am more and more inclined towards this only our bulwark against all disasters.
I feel like I'm starting to love God
what I couldn't do before
P.I. Tchaikovsky
SERGEY VASILIEVICH RACHMANINOV
Music must come from the heart
S.V. Rachmaninov
Rachmaninov was the greatest composer and pianist of the late 19th - early 20th centuries. He was distinguished by an unusually acute perception of reality. He was one of the composers and singers of nature.
Rachmaninov's creative heritage includes works of various musical genres, including spiritual and musical works. The composer was Tchaikovsky's successor in sacred music, in the sense that he continued the tradition begun by Tchaikovsky of performing church songs in an open secular concert. And many of Rachmaninov’s works shared the same fate as Tchaikovsky’s religious works.
Sacred music occupied a significant place in Rachmaninov’s work. Being a composer silver age"and he is a symbolist in many of his Orthodox works invested symbolic meaning. The most significant works of Rachmaninov’s sacred music are still performed today. Among them All-night vigil And Liturgy of John Chrysostom(1910). The writing of "All Night Vigil" was completed by Rachmaninoff in 1915. It was a huge success on stage, but did not enter into liturgical practice. The Church and its high demands on sacred music and concerts performing this music did not allow the “All-Night Vigil” to be fully realized even on the secular stage. This was facilitated by the circular Holy Synod“On the procedure for organizing spiritual concerts.” Since 1926, “All Night Vigil” has not been performed, but in the 80s it received a rebirth, again being heard in concerts.
Rachmaninov leaned towards sacred music in his work, as he saw history and the best traditions Russian culture. Foreign period
The composer's creativity was also marked by some spiritual and musical works (“Three Russian songs for choir and orchestra”).
In sacred music, the composer found the roots of Russian culture to which he strove.
I am a Russian composer,
and my homeland left its mark on my character and my views.
My music is the fruit of my character,
and therefore it is Russian music.
S.V. Rachmaninov
CONCLUSION
Outstanding composers created sacred music. Their music bore the imprint of modernity and the origins of the past. Spiritual and musical works by D.S. Bortnyansky, P.I. Tchaikovsky, S.V. Rachmaninov still live today. These works, which have become the property of sacred music, are performed on stages and sung in churches. Their path to the hearts of people is still open. Having been a stronghold of the past, the sacred music of Bortnyansky, Tchaikovsky, and Rachmaninov has become the property of the present. But the spiritual and musical creativity of these composers experienced difficulties of misunderstanding, the flow of which came either from their contemporaries or from representatives of the next generation. Despite the criticism, the works remained original and ingenious in their own way, so their destruction was not in the power of time.
Bortnyansky created more than fifty choral concertos, which were collected and edited by Tchaikovsky. Bortnyansky can be called, without exaggeration, a singer of the church word, since his work is spiritual creativity.
Tchaikovsky was the first to bring sacred music to the secular stage, and Rachmaninov was the one who followed him and created works that sold out concerts.
The contribution of these composers of the 18th – first half of the 20th centuries to sacred music is enormous. Exhaustive proof is that we still hear it now.
LIST OF REFERENCES USED
Igor Glebov (Asafiev B.V.) P. I. Tchaikovsky: his life and work. - Petrograd, 1922
K. Kovalev-Sluchevsky, Bortnyansky (ZhZL)
S. V. Rachmaninov: article “Music must come from the heart”
A. V. Ossovsky. S. V. Rachmaninov. in the book: Ossovsky A.V. Selected articles and memories. - L.: Sov. composer, 1961.
Federal Agency for Culture and Cinematography
Kemerovo state university culture and arts
Scientific library
Sacred music in creativity
Russian composers
Bibliography
Kemerovo
Editorial Board: Kashina V.P. Computer design: Sergeev A.V. Responsible for the release: Gavrilova V.A. Sacred music in the works of Russian composers: bibliographic list / Comp. V.P. Kashina. – Kemerovo: NB KemGUKI. – 19 p.
Introduction ………………………………………………………………………………….. 4 From the compilers ……………………………………………………… ……... 5 General part ……………………………………………………………….. 7 Personnel ………………………………………… ……………………… 8
Introduction
Sacred music is the ancestor of everything Russian musical creativity. At all times it has been a sphere of application creative forces outstanding Russian composers. The motives for which they turned to spiritual genres were different - from internal religious attitudes to aesthetic preferences. The music of the Russian Orthodox Church is the source of musical classics right up to the present day. It finds its natural refraction in the work of composers working in the genres of spiritual and musical compositions. But due to its deep roots, this musical plane, often perceived as folklore, is included by composers in works of secular musical genres. Russian composers brought original techniques of musical writing, unique to Russia, to world culture. Based on them artistic method based on ancient church genres, enriched with the intonations of Russian folklore and the achievements of professional composers. These traditions are continued by modern domestic composers. The purpose of the bibliographic list “Sacred Music in the Works of Russian Composers” is to facilitate the search for sources of information about the life and work of composers who created in the genre of sacred music.
From compilers
The presented bibliographic list is devoted to works written both in the genre of sacred music and other genres written on spiritual subjects. The bibliographic list “Sacred Music in the Works of Russian Composers” consists of two parts. The general part includes works characterizing specific forms and genres of church music. The second part is dedicated to the personalities of composers (both famous and undeservedly forgotten) who worked in the genre of sacred music. Within sections and subsections, the material is arranged in alphabetical order. Bibliographic characteristics of documents are carried out in accordance with GOST 7.1-2003 “Bibliographic record. Bibliographic description. General requirements and rules of compilation." Abbreviations of words generally correspond to GOST 7.12-93 “Bibliographic record. Abbreviations of words in Russian. General requirements and rules»Works related to various parts, are duplicated by indicating their serial number at the end of the corresponding part of the list. The bibliographic list is compiled on material from the collection of the Music Department Scientific library KemGUKI, and includes mainly articles from the magazines “Musical Academy”, “Meeting”, “ Early music"The personalities of composers whose work is poorly covered in periodicals are presented in articles from basic research on the history of Russian music. The publication is intended for students and faculty teachers musical art and all those who are interested in the history of Russian sacred music. The bibliographic list will help for independent work students in the training courses “History of Russian Music”, “History of Russian Music of the 20th Century”, “History of Russian Choral Music”, “History of Russian Choral Music of the 20th Century” and in classes in the specialty.
GENERAL PART
- Gulyanitskaya N. Notes on the stylistics of modern spiritual and musical compositions [Text] /N. Gulyanitskaya // Music. academy. – 1993. - No. 4. – P. 7-13; 1994. - No. 1. - P. 18-25 Guryeva N. Polyphonic liturgy of the end of the 17th century and its authors [Text] /N. Guryeva // Ancient music. – 2000. - No. 3. – P. 8-10. Denisov N. New sphere of creativity [Text] /N. Denisov // Music. academy. – 1998. - No. 3-4. – pp. 42-45. Koshmina I.V. Russian sacred music [Text]: in 2 books / I.V. Koshmina - M.: Vlados, 2001. Levashev E. From Glinka to Rachmaninov (Sacred Music of the Fatherland) [Text] / E. Levashev // Music. academy. – 1992. – No. 2. – P. 2-13. Paisov Yu. Resurrection of the Ideal (Hymns to the Saints in modern music Russia) [Text] /Yu.Paisov // Music. academy. – 1993. – No. 4. – P. 152-154. Plotnikova N. Sing to our God (“The Cherubic Song”) [Text] / N. Plotnikova // Meeting. - 1998. - No. 3. – P. 26-27. Protopopov V. Music of the Russian liturgy (Problems of cyclicity) [Text] / V. Protopopov // Music. academy. – 1997. - No. 1. – P. 30-37. Protopopov V. Music of the opening psalm at the All-Night Vigil [Text] / V. Protopopov // Music. academy. – 1999. - No. 1. – P. 1-10. Rapatskaya L.A. History of Russian music: from Ancient Rus' to the “Silver Age” [Text] / L.A. Rapatskaya. – M.: Vlados, 2001. – 384 p. Russian spiritual music of the 20th century [Text] // History of modern domestic music: in 3 issues - M., 2001. - Vol. 3. – pp. 398-452. Russian music at school [Text]: methodological essays. – M.: Miros, 1998. – 256 p. Umnova I.G. Refraction of the traditions of sacred music in the work of modern domestic composers [Text] / I.G. Umnova // Orthodoxy - Culture - Education - Kemerovo: materials from the interregion. scientific-practical conf. - Kemerovo: Kemerovo. state Academy of Culture and Arts, 2002. – pp. 392-388.
Personalities
V.A. Agafonnikov (b. 1936)
- Plotnikova N. Bright national style [Text] / N. Plotnikova // Meeting. – 2001. - No. 12. – S.....; 2002. - No. 1. – P. 19-21.
A.V. Alexandrov (1883-1946)
- Plotnikova N. Hymn to the Russian soul [Text] / N. Plotnikova // Meeting. – 2003. - No. 7. – P. 24-25.
M.V. Antsev (1865-1945)
- Plotnikova N. From textbook to liturgy [Text] / N. Plotnikova // Meeting. – 2002. - No. 7. – P. 24-25.
A.S. Arensky (1861-1906)
- Music as bright as a stream [Text] // Meeting. – 2002. - No. 5. – P. 17-18.
V.P. Artemov (b. 1940)
- Artemov V. Find living value [Text] / V. Artemov // Music. academy. – 1996. – No. 1. -S. 72-74.
A.A. Arkhangelsky (1846-1924)
- Plotnikova N. The Great Lord of Harmony [Text] / N. Plotnikova // Meeting. – 1999. – No. 1-2.- P.27-28. Obolensky P. Chronicle of a musical life [Text] / P. Obolensky // Music. academy. – 1994. - No. 1. – P. 95-98.
A.M. Arkhangelsky (1863-1915)
- Plotnikova N. To native shores [Text] / N. Plotnikova // Meeting. – 2002. - No. 2. – P. 19-20.
A.M. Astafiev (1873-1956)
- Plotnikova N. And Regent and teacher [Text] / N. Plotnikova // Meeting. – 2001. - No. 11. – P. 25-27.
N.A. Afanasyev (1821-1898)
- Plotnikova N. Belongs to Russia [Text] / N. Plotnikova // Meeting. – 1999. - No. 4. – P. 23-24.
N.I. Bakhmetyev (1807-1891)
- Plotnikova N. Landowner and musician [Text] / N. Plotnikova // Meeting. – 2001. - No. 10. – P. 23-25.
V.D. Benevsky (1864-1930)
- Plotnikova N. Conductor, teacher, composer [Text] / N. Plotnikova // Meeting. – 2002. - No. 11. - P. 22-24.
M.S. Berezovsky (1745-1777)
- M.S. Berezovsky [Text] // History of Russian music: in 3 issues. /ed. A. Kandinsky. – M., 1999. – Issue. 1. – pp. 206-210. Rytsareva M. Composer M. S. Berezovsky [Text] / M. Rytsareva. – L.: Music, 1982. – 142 p.
D.S. Bortnyansky (1751-1825)
- D.S. Bortnyansky [Text] // History of Russian music: in 3rd issue. // edited by A. Kandinsky. - M., 1999.- Issue 1. - pp. 210-225. Rytsareva M. Composer D.S. Bortnyansky [Text] / M. Rytsareva. – L.: Music, 1979. - 255 p.
Yu.M. Butsko (b. 1938)
- Butsko Yu. Give Russia all my work, my life [Text] /Yu.Butsko // Music. life. – 1999. - No. 4. – pp. 11-13. Dubinets E. Signs of the style of Yuri Butsko (Znamenny chant in the twentieth century) [Text] / E. Dubinets // Music. academy. – 1993. - No. 1. - P. 49-52. Karaban M. Multidimensionality of modal space and principles of fuzzy logic [Text] / M. Karaban // Music. academy. – 2001. - No. 4. – P. 49-54.
A.E. Varlamov (1801-1848)
- Plotnikova N. Music – you need a soul [Text] / N. Plotnikova // Meeting. – 2003. -No. 8. - P.25-27.
A.N. Verstovsky (1799-1862)
- Plotnikova N. The mighty power of feelings [Text] / N. Plotnikova // Meeting. – 2003. – No. 12. – P. 29-30.
M.A. Vinogradov (1809-1888)
- Plotnikova N. A musician has no leisure [Text] / N. Plotnikova // Meeting. – 2004. - No. 2. – P. 16-17.
P.M. Vorotnikov (1810-1876)
- Plotnikova N. In the traditions of the old school [Text] / N. Plotnikova // Meeting. – 2002. - No. 9. – P. 19-21.
V.A. Gavrilin (1939-1999)
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M.I. Glinka (1804-1857)
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Document
Music has always been and remains one of the important means of communication in the life of mankind. And, above all, already at the earliest stages of human development, sounds played a sacred, liturgical role; from the very beginning, music served a higher principle.
Educational and methodological manual for full-time students studying in specialty 0
Educational and methodological manualHistory of choral music. Assignments for self-preparation of students for practical classes, topics and questions for seminars: educational method. manual for students of specialty 070105 Conducting (by type of performing groups: conducting
Ryazantseva Olga Nikolaevna, category II. Full name, category subject music grades 2-8 subject, class, etc. 2011 explanatory note
Explanatory noteThe program for the academic subject “Music” is compiled on the basis of D.B. Kabalevsky’s program recommended by the Ministry of Education of the Russian Federation for the state educational standard of basic general education.
Spiritual concert in the works of Russian composers of the second half of the 19th - early 20th centuries
I. Dabaeva
The spiritual concert, having emerged in Russian culture in the middle of the 17th century, has retained its stable position until the present day. In its history there were periods of brilliant rise and relative calm. Since the beginning of the 19th century, due to the ban on performing a concerto as part of a divine service, he practically left the practice of composing. However, on turn of the 19th century and the 20th century, the concert again attracts the attention of composers, which is due to objective reasons. The purpose of this article is to identify the specifics of the genre model of the Russian spiritual concert in the specified period of time. The scope of tasks includes consideration of the historical context that influenced the modification of the genre, determining the role of secular art in this process. To confirm the position of the author of the article, archival documents and articles from periodicals of the early 20th century are used. In connection with the revival of spiritual culture at the present time, the frequent appeal of performers to the works discussed below, it seems that this material, in addition to its novelty, also has practical value.
In the development of the genre of spiritual concert in the second half of the 19th century. One can note a certain evolution, which is due to a number of circumstances. spiritual concert composer genre
On the one hand, during this period the opportunity arose for a new life for the genre, going beyond the scope of worship and performance at “spiritual and musical” evenings. This caused a return of composers’ interest in writing works in this genre and a search for new genre models. In most cases, they were not performed during services, but they were often heard in concert halls. Among such works are concert compositions by A. Grechaninov, M. Ippolitov-Ivanov, Vik. Kalinnikov, A. Arkhangelsky, A. Nikolsky and many other composers. This phenomenon has become widespread in late XIX centuries during the days of numerous fasts. However, facts are also known about the earlier organization of spiritual concerts. Thus, in 1850, the director of the Court Choir, A. Lvov, organized a concert for a choir of 700 people. It included singers from all St. Petersburg choirs. The basis was made up of spiritual concerts by Lvov himself (“Thy Mystical Supper”) and D. Bortnyansky (two-chord “We Praise Thee God”).
The wide spread of spiritual concerts was initiated by the active creative activity of A. Arkhangelsky. In 1880, he organized his own choir, and on January 17, 1883, he gave his first public concert. Judging by the publications, spiritual concerts took place especially often in the first decade of the twentieth century. Thus, on December 1, 1902, a grandiose concert was given by the combined choir of the singing churches of St. Petersburg, in which 500 people took part under the direction of Arkhangelsky. Concerts by Bortnyansky “Who is the Great God”, Arkhangelsky “I Think of a Terrible Day” and other works were performed. And on April 20, 1903, an even more grandiose concert took place in Moscow, uniting all the choirs of the city. The number of participants was more than 2000 people. This unique choir was headed by the director of the Synodal School of Church Singing, V. Orlov. Bortnyansky's concerts were performed there. With special splendor and solemnity, as noted in publications of that time, the two-oral concert “Sing the People” was held. Such were especially in demand concert programs in the province.
An undoubted influence on the genre of spiritual concert was exerted by secular music. Romantic composers, abandoning the classical relationship of contrasting, complete parts, created a one-part concert of two types: small and large forms, implementing the features of a four-part cycle within one part. As a result of the lyrical-romantic transformation, leitmotif connections and monothematicism became the characteristic features of the genre, and the principle of end-to-end development became of utmost importance.
Moving away from the cumbersome classical model of the concert genre, composers wrote works called “sacramental verse,” which presented new forms of spiritual concert. They preserved the genre content of the concert, and at the same time a number of constant features characteristic of it: an appeal to the canonical Word, a sublime ethical circle of content, intense emotional tone, singing without instrumental accompaniment, the principle of contrast, manifested at various levels of organization of the composition - tempo, rhythmic, texture, dynamic, intonation, harmonic. The noted features are also found during this period in other liturgical genres - stichera, troparions, modified and unchanged chants of the All-Night Vigil and Liturgy, which makes it possible to combine a similar group of different spiritual works with the term “concert”. If the characteristic quality of a classical concert was the static comparison of modes of various prayerful states in neighboring parts, then for spiritual works of the concert type of the late 19th century, the dynamics of development, the transformation of states throughout one section or part of the concert, become more typical. Obviously this was the embodiment new form personal religious experience.
A. Lvov's spiritual concerts represent a transitional stage from the classical type of concert to the romantic one. Church figures turn of XIX-XX centuries, they wrote the following about these works of the composer: “The pathos of his works strives to become real drama and not the drama of an aria, but the drama of the whole. And their harmonic structure is no longer Italian”; “Lvov avoided the extremes of Italian operatic style and sensibility. He gave his works a more objective character and paid great attention to the beauty of the harmonies themselves. His concerts resonate with seriousness and depth of feeling rather than with passion and bliss.” In Lvov’s concerts, various emotional states are embodied through contrasting comparisons both on the edges of compositional structures and within them. For example, in the first part of the concert “I Will Love You, Lord,” two prayerful states are compared: sublime inspiration and firmness, fortress of spirit. And in Part II, the process of emotional development covers a whole range of states: from doubt - through petition - to gaining confidence. In parts III and IV, the mode of one state is maintained.
A. Arkhangelsky played a significant role in the development of the spiritual concert. The research literature and numerous reviews of that time contain many negative reviews about this part of it. creative heritage. A. Nikolsky noted: “The path of lyricism in music is dangerous, since it often leads to sentimentalism, false and pompous drama, sometimes replacing a healthy feeling with painful sensitivity, repentance with tearfulness, gratitude with noisiness, “crackling”, external false pathos, etc. .d. All this happened to Arkhangelsky. He went in the direction of Tchaikovsky, but distorted his foundations." A typical mode of prayerful state, repeatedly reflected in Arkhangelsky’s concerts, is quiet sadness and mourning. During this period, prayerfulness was associated with sentimentality. Thus, Arkhangelsky’s concerts embodied the mode of prayerful state characteristic of the era and absorbed the religious experience of his contemporaries.
Many of Arkhangelsky's concerts are characterized by the same type of dramaturgy. Despite the obvious division of concerts into three sections, very often during the first and second of them one state is maintained - anxiety or sadness with a varied gradation of emotional shades within it (concentration, trembling, pain, prayer, excitement, doubt, melancholy), with subsequent dramatization, leading to ecstatic crying, screaming, explosion of emotions. The third section, as a rule, is represented by a short conclusion, embodying the modus of the state of humility and meekness. In harmony, however, there are echoes of previous storms, which makes one doubt the authenticity of humility. This is the dramaturgical logic in the concerts “I Think of a Terrible Day”, “Thou Hast Rejected Me”, “With My Voice to the Lord”, “God Inspire Prayer”. It is interesting to note in the final sections the collapse of any previous type of texture into a strict chordal four-voice. Thus, texture modulation is a means of changing the mode of state. In a number of other concerts by Arkhangelsky, one state develops: “Praise the Lord from heaven” - joy, “Lord have mercy on us” - prayer.
Various forms of transformation of the concert genre can be found in the works of A. Grechaninov, A. Nikolsky, P. Chesnokov, Vik. Kalinnikova. With all the diversity of embodied prayerful states, their works reveal many similarities. Thus, the concerts of Grechaninov “Shout to the Lord” and Nikolsky “The Lord Reigns,” which have several sections, are focused on the embodiment of one state - solemn rejoicing. In the general context, Nikolsky’s concerts stand out, the creation of which dates back to 1922: “God Save Me,” “My God, Listen to Me: Where Have You Forsaken Me?” They reflected the serious personal upheavals that accompanied the composer, and therefore the composer’s state of prayer at that time.
Chesnokov found interesting solutions in a number of concerts. For example, in the concert “To the Mother of God Diligently” the modes of various prayerful states are closely related: in the part male voices- asceticism, stern restraint, in the women's party - a plea that develops into a cry. The constancy of the emotional state captured in the part of the male voices makes this contrast even more striking. The main reproach addressed by contemporaries to Chesnokov’s works boiled down to references to the “secularism” and “concert quality” of his spiritual works. So, evaluating 10 participle op. 25, the critic noted: “Their musical merit is not the same. The weaker ones are those where there are techniques of secular choral singing and music not for the church, but rather for the salon (emphasis added by us - I.D.); and the best and most suitable are those that emanate simplicity, ancient chants and where there are no inappropriate chromaticisms and sweet harmony.” The author of the review also names excessive drama, the use of a non-chord, a list, a second chord with a doubled and sustained seventh, and student imitation as disadvantages.
Music critics of the early twentieth century in their correspondence did not skimp on comments, sometimes not harmless. Yes, priest. M. Lisitsyn wrote about Chesnokov’s Memorial Service in the magazine “Music and Singing”: “Chesnokov has long declared himself as a talented translator of several everyday melodies (“Your Chamber”, “Behold the Groom”). This essay is an original work. It must be said to the honor of the author that he also strives to compose in the spirit of church-everyday motifs. But among these advantages, I consider it my duty to note some shortcomings, one of which must be attributed personally to the author, and the other to the “Moscow school” to which the author belongs. The author’s shortcoming is his occasional fascination with secular and romance opera styles.” One should not exaggerate the similarity of individual motifs in the works of romantic composers - modern musical science has more than once noted migrating intonations and themes, the commonality of intonation complexes in their work. The biting tone of the statement is explained by the figure of the critic: the priest M. Lisitsyn, himself a spiritual composer, represented the St. Petersburg branch of the new direction in Russian sacred music - the sharp confrontation between the two branches, imprinted on the pages, is well known periodicals of that time.
A reproach against the “secularism” of spiritual writings in in this case requires clarification. Of course, Chesnokov, the son of the regent, a graduate of the Synodal School of Church Singing, who devoted his entire life to activities on the basis of church culture, was well aware of what was appropriate for Orthodox worship and what brought sharp dissonance into it. Here it is necessary to keep in mind that Chesnokov specially created a number of works for church use and adhered to strict rules in them: chants must be churchly in spirit, correspond to the aesthetics of worship and help create the atmosphere necessary for prayer. Other compositions were intended to be performed as part of spiritual concerts. They preserved the canonical texts, however, they allowed a freer interpretation. The first belong to the field of harmonizations and adaptations of ancient Russian chants (or stylization in their spirit), the second - to the field free essays. Among the latter, we note, for example, such works as “An Angel Cries” (op. 22), “My Soul Magnifies the Lord” (op. 40), “Do not reject me in my old age” (op. 40), “O Blessed One” ( op. 43), “Blessed is the Man” (op. 44), etc. Chesnokov’s concert works are characterized by an expressive interpretation of the canonical text, manifested in a pronounced dynamization of development, an active change of tonality, increased dissonance of sound, and the use of sound color, expressed in the use of bifunctional complexes. , alteration and disalteration of chords, organ points.
Thus, the approach to the implementation of canonical texts in musical works created for liturgical use or concert performance reveals clear differences. In the first case creative process is aimed at recreating the church spirit that does not contradict the aesthetics and liturgical principles of church rite. In the second, the composer uses a set of means aimed at emotionally conveying the meaning of the text and identifying the expression of embedded figurative ideas. In these spiritual works, intended for non-liturgical use, one can clearly hear a sincere, deeply personal prayer addressed to the Lord.
Spiritual concerts, thanks to the intonation closeness to the era, the richness of thematic content, and the breadth of figurative content, became for composers a means of musical communication with parishioners and listeners. And in this sense, they fulfilled their historical mission, which Grechaninov defined as follows: “The task of the present moment is to raise the art with which the people come into contact in the church to a greater height. Then here he will develop his taste, acquire a love for real works of art, and in the future he will strive to expand his artistic horizons.”
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