Жанрово-стилевые и духовно-смысловые аспекты хоровой кантаты в творчестве Николая Римского-Корсакова и Сергея Танеева

Abstract

В статье исследовано исторические пути развития жанра хоровой кантаты в европейской музыкально-исторической традиции Нового времени. Рассмотрено специфику развития русской кантаты во всем разнообразии ее типологических проявлений, обусловленных социокультурными условиями ее возникновения. Охарактеризовано духовно- смысловые и жанрово-стилевые особенности хоровых кантат Н. А. Римского-Корсакова и С. И. Танеева, репрезентирующих творческие искания “московской” и ”петербургской” композиторских школ рубежа XIX–XX столетий.

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У статті досліджено історичні шляхи розвитку жанру хорової кантати в європейській музично-історичній традиції Нового часу. Розглянуто специфіку розвитку російської кантати в усьому різноманітті її типологічних проявів, обумовлених соціокультурними умовами її виникнення. Охарактеризовано духовно-смислові й жанрово-стильові особливості хорових кантат М. А. Римського-Корсакова та С. І. Танєєва, що репрезентували творчі пошуки “московської” і “петербурзької” композиторських шкіл рубежу XIX–XX століть.

Cantata – the genre of choral music, strong demand since its inception, practically in every epoch in the history of world music culture of the last centuries. The foregoing and correlated with the evolutionary paths of the genre in the history of Russian music abroad XIX – XX c., which has absorbed a typology of the Western European model of the genre and the best traditions of Russian spiritual and choral tradition. The most comprehensive data quality cantatas presented in choral works by Mykola Rimsky-Korsakov and Sergiy Taneyev, representing the stylistic features of “St. Petersburg” and “Moscow” schools of composition. Cantatas demand of these authors in performing research and practical relevance of the theme determines the present article. Cantata is one of the most important genres of the European musical culture of the last four centuries. Initially on the etymology of its definition (“cantare” – “to sing”), it is clearly correlated with the scope of the vocal spiritual creativity, making certain opposition instrumentalism. Featuring substantial-semantic variety (spiritual and secular) cantata XVII–XVIII centuries at the same time demonstrates the determination of priority, first of all, in the spiritual sphere of musical creativity that is evident not only in Italy, but above all in the German musical culture of the period. Evolution of Western cantata XVII–XIX centuries evidence and mobility of its genre and dramatic performance, allowing them at various stages of development interact with genre features of opera, oratorio, chamber and vocal sphere of creativity while preserving their identity. Genre cantata in Russian musical culture is born in the XVIII century, at the intersection of domestic and European music traditions. Mobility structural indicators cantatas under the Russian musical culture outlined the prospects of convergence and interaction of this genre with the spiritual choral concert, oratorio in the XVIII century, with chamber-vocal, musical theater and opera areas of creativity in the XIX century. Summarizing the spiritual meaning and aesthetic essence of creativity Rimsky-Korsakov, it should be noted that all his vital activity as a whole represents a huge complex world, which can be defined as “space Rimsky-Korsakov’s” (M. Rakhmanova). The purpose of these activities is contained in the collection to the author of the basic features of national music and, more broadly, the art of consciousness, but in the end – in the reconstruction of a solid image of the “Russian world outlook”. The basis outlook Rimsky-Korsakov may be deemed to arise on this basis alloy pagan, pantheistic and Christian traditions, with the implementation of positions classified as “beautiful”. Their genesis, at the same time, dates back to ancient archetypal models mythological poetics focused on myths of death and resurrection, as well as to the archaic model of binary oppositions, in close connection with which is not only figuratively semantic parameters of his operatic heritage, and cantatas (“Svitezyanka”, “From Homer”, “Song of Wise Oleg”, “Verse of Alexis Man of God”). Figuratively, semantic and genre-stylistic quality of the musical heritage of Taneyev, including the cantata “John of Damascus” and “On the Reading of a Psalm” is also inseparable from the spiritual and aesthetic concept of the composer, which has absorbed a wide range of philosophical, religious, historical, knowledge. Cantata “John of Damascus” and “After the reading of the psalm” emerged at the intersection of Russian spiritual singing and Western vocal polyphonic tradition, represented by the heritage of Renaissance polyphony and spiritual choral baroque music (Bach, G. F. Handel). Said sources essentially equally important to the style Taneyev and his concept of the “orthodox cantata”. With the Protestant cantata (which appeals to the composer) his works are linked not only quoting and singing hymns of liturgical items (“John of Damascus”), enriched with baroque musical-rhetorical tradition, as well as gains of polyphonic techniques (which Taneyev mastered to perfection) but also to use as a basis of verbal poetic “retelling” of spiritual texts (verses John Damascene, psalm 49), defining the nature of the works of preaching data.