Виконавське моделювання хорової динаміки у поліфонічних жанрах

Abstract

У статті досліджено специфіку поліфонічних жанрів у хоровій музиці, визначено вплив тексту на формування акустичної моделі твору та сприймання поліфонічної фактури слухачем. Висвітлено принципові відмінності виконання хорової поліфонії від інструментальної. Запропоновано методологічно обґрунтовані виконавські підходи до поліфонічних хорових жанрів. На прикладі обраних творів продемонстровані шляхи практичного втілення різних методів виконавського моделювання хорової партитури у поліфонічних жанрах.

В статье исследована специфика полифонических жанров хоровой музыки, определено влияние текста на формирование акустической модели произведения и восприятия полифонической фактуры слушателем. Освещены принципиальные различия исполнения хоровой полифонии от инструментальной. Предложены методологически обоснованные исполнительские подходы к полифоническим хоровым жанрам. На примере избранных произведений продемонстрированы пути практического воплощения различных методов исполнительного моделирования хоровой партитуры в полифонических жанрах.

The choir interpretation of the polyphony is one of the most interesting and less analyzed points of the modern artistic performance. The first question, which is inspiring practical choir-conductors to investigate this subject, is how listeners perceive the meaning of the text, when it organized in polyphonic form. The second problem is how the lyrics influence on music architectonic and dynamical balance in the choir texture. The above-named issues didn’t were detailed in the musical science. Some points was presented in the book “The Choir and its Management” by P. Chesnokov but most of them didn’t give the answers and have to be discussed. There aren’t a lot of strict guidelines in the performing the polyphony. In classical case the texture’s balance is built in this way: the first dynamic level is the theme, which consistently carried in the different voices, the second level is the counterpoint and the third level – other imitation and sub-vocal constructions. But it’s actually important for instrumental music, when listeners are following the interweaving of voices and isolating the main thematic material among them. The choral performers have additional tasks because the choir music has lyrics, which conveyed the meaning of the composition to the listener. And the polyphonic texture, where the voices are caring the theme in a different time, vying for listener’s attention, doesn’t contribute to a clear understanding of the text. Excellent example of such situation is the fugue from the first part of the cantata by S. Taneyev “John of Damascus”. The main theme of the Adagio is very long and the using rules of instrumental polyphony’s performance lead to the loss of text among the imitations, which are formed by the entry of new themes in another voices. At the same time, the composer doesn’t give any additional dynamical directions and the conductor have to manage this problem on his own by balancing all subsequent introductions of the theme right up to the end of it first presentation so that the text of the composition can be understood by listeners. There aren’t such difficulties in the performing the polyphonic forms which built with the short lyrics. For example, the double fugue “Amen. It sempiterna saecula” from the G. Rossini’s “Stabat mater”. The short text is presented in such a way that it can be easily perceived by the listeners and the theme development is based on the singing of vowel sounds. The text’s overlapping doesn’t occur and it simplifies its perception. Another way should be used for choir texture’s modeling in part-singing style’s compositions. The original texts of them show that dynamical issues are resolve by the simply method: in cases, when composer wanted to compress the texture he didn’t give some direction about loud of singing, he only doubled the fraise in two or more voices. The part-singing concert for Entry of the Most Holy Virgin into the Temple (XVI c.), which is analyzed in the article, is constructed by 12 voices. Some of them are doubling each other in culminations and it doesn’t require the special conductor’s correction the dynamic balance of the score.