Камерно-вокальні твори композиторів Росії на поетичні тексти стародавнього Китаю у професійному перекладі

Abstract

У статті здійснено аналіз характеру і змісту фахового перекладу середньовічної поезії Китаю в камерно-вокальному музичному мистецтві європейських митців середини ХХ століття. Простежується його вплив на образний лад та виразову систему музичних прочитань.

В статье осуществлен анализ характера и содержания профессионального перевода средневековой поэзии Китая в камерно-вокальном музыкальном искусстве европейских композиторов середины ХХ века. Отслежено его влияние на образный строй и выразительную систему музыкальных прочтений.

Nature and content of professional translation of ancient Chinese poetry in chamber and vocal art of Russian compositors of the middle of the 20th century have been analyzed in the article. The influence of translation on figurative line and expressive system of musical interpretations has been traced. Poetic art of the Ancient China takes a key place in the system of cultural achievements of the country. Admiration for cultural practices of the Far East of the late 19th – early 20th century in Europe, conditioned by powerful political, sociocultural and ideological factors, led to the appearance of a great number of imitations and free reiterations in French, German, Dutch, English, Russian, Ukrainian and other languages of poetic word masters, in particular, of the Tang dynasty – a golden age of Chinese poetry in the works of European artists. Judith Gautier, Hans Bethge, Mykola Humiliov, Anna Akhmatova, Franz Toussaint, Hans Heilmann, Merrill Stewart, Artois Waley, Mykhailo Rudnytskyy, etc. joined the process. Individual mental aspects, particularly original figurativeness and language of symbols were emphasized in their reflective poetic works. These characteristics have become especially attractive for composers of different national schools being the reason for the appearance of a number of separate works and chamber and vocal cycles, notably in impressionist and modernistic stylistics, though marked with a great freedom of the original interpretation means, experimental nature of structure, vocabulary, system of symbols and outstanding peculiar manner of expression. Solitary appeals to the texts produced by professional translators have been observed since 1920–1930 and closer to the middle of the century they become dominating in the group under analysis. They differ with deeply sensible attempts to discover the expressive force of laconism and chastity of poetic forms, due to the polysemy of hieroglyphs and their combinations, a much deeper understanding of the essence of symbols, combinatorics and intellectualism of poetic process, its philosophical grounding and historical background are inherent in specialists’ translations. Yuliya Weisberg was one of the first Russian professional translators in the field of chamber and vocal music, who produced a cycle of four romances of Horae 7 on the texts of Chinese poets in translation of Mykola Novych (pseudonym of literary scholar and bibliographer of M. Bakhtin). Heorhiy Sviridov (1915–1998) developed the established composing tradition appealing to the professionally translated poetry in the cycle of «Songs of the Wanderer» on the texts of Wang Wei, Bo Juyi, He Zhizhong in translation of Yu. Shutskyy, one of the earliest professional translatorssinologists, where typical features of artist’s individual composing handwriting have been established: simplicity and clarity of texture order, melodiousness of melodic language, content lyrism, landscape features. Among the artists of the 20th century, who appealed to professional translation, there are Russian artists such as Mykola Peyk, Yevhen Botiarov, Leonid Desiatnykov, Mykola Sidyelnikov, Edison Denysov, Serhiy Syrotin; Ukrainian artists: Borys Liatoshynskyy and Oleksandr Rudnytskyy; Buriat artist: Viktor Usovych; Moldavian artist: Serhiy Berinskyy; Dungan artist: Bakyr Bayakhunov. Having considered the samples of professional translations of Chinese ancient poetry in camera and vocal genres, it must be notified that the process has become particularly intensive in Russia and the bounding countries in the middle of the 20th century. Among translators, there are specialists-sinologists and general literary scholars, which is the reason for the difference in original reading and stylistics. Composers mainly appeal to the genres of suite type vocal cycle with inconsiderable accents on exoticism, paying more attention to a symbolic row and psychological subtext rather than external attributes of depiction of places described in poetic texts. Instead, creative personality in correlation with society and nature, their philosophical interpretation represent an attractive aspect of poetic word reading.