Жанр духовної пісні в творчості композитора Максима Копка

Abstract

У статті розгляyто духовні пісні Максима Копка на поетичні тексти “Богогласника”. Проведено музикознавчий аналіз духовних пісень композитора, відслідковано їх джерела. Висвітлено особливості термінології, мови, характерні риси, притаманні духовним пісням, їх призначення. Визначено роль композитора М. Копка у розвитку української духовної пісні кінця ХІХ – початку ХХ століття.

В статье рассмотрено духовные песни Максима Копка на поэтические тексты “Богогласника”. Проведено музыковедческий анализ духовных песен композитора, отслежено их источники. Выяснено особенности терминологии, языка, характерные черты свойственные духовным песням, их назначение. Определено роль композитора М. Копка в развитии украинской духовной песни конца ХІХ – начала ХХ столетия.

The article deals with spiritual songs of M.Kopko on the poetics texts of “Bohohlasnyk”. Musicological evaluation of spiritual songs of the composer was conducted, their sources were traced. The interest in the past and its cultural heritage caused the composers of romantic genre to be interested in spiritual songs. Ukrainian spiritual songs appeared at the end of XVI – beginning of XVII centuries. The spiritual songs became very popular and widespread among Ukrainian people because of the composers, especially those who worked at the end of XIX century. At that time Peremyshl’ was the spiritual center of Halychyna, and so called “Peremyshl’ school” was formed. One of it represent was Maxym Kopko. The genre of spiritual song is an integral part of public and private religious life and is connected with a certain period in liturgical year. Spiritual songs, due to their devotional character, association with liturgy and worshiping, were sung in the church before, during and after the prayers, and during missions. Spiritual songs left a bright trail not only because of so many handwritten remembrances left. Also because their texts became gradually more popular through the printed editions. Regarding terminology the same text is defined differently: “spiritual song”, “psalm”, “spiritual verse”, “spiritual kant”. The term “psalm” at that time was used not often. “Psalm” term etymology is associated with David’s Psalms texts. The term “song” (“Christmas song”, “Easter song”, ets.) is the most widespread in the written tradition. The word “kant” is found very rare in Ukrainian manuscripts. As it is in fact absent, the term “spiritual song” is the most used. With respect to “the language” of the texts of Ukrainian spiritual songs, – most of them are written in literary Ukrainian language and Ukrainian version of slavonic. The presence of vocative is a national verbal feature of the poetic texts. In many songs one can clearly see the inclusions of the elements of alive spoken language. Thanks to the talent and hard work, M. Kopko blended in the history of the church music as an author of spiritual composition - he published religious collection: “Church Songs” (1900), “On Holy Lent” (1902), “The Resurrection Of Christ” (1905), “On Christmas Eve” (1905). M. Kopko spiritual songs were repeatedly performed during divine liturgy. He was also the organizer of the church choirs – their choral conductor. M. Kopko spiritual creativity played a big role at the time of the birth of new wave of spiritual art of singing. His spiritual songs are written for different choir compositions (unanimous, in two or three voices). Among Kopko’s spiritual songs the one must be pointed out. This song is “Virgin Mother of Russ Land” (collection “Church songs”, 1900). The text of this work is addressed to Pidkaminska Virgin and is based on the text of “Bohohlasnyk”. Another icon glorifying song of M. Kopko is written on the text from Pochayiv Bohohlasnyk to honor the miraculous icon in the small city of Bar in Podillia – “Oh, Vsepetaya Mother! Oh Mother, Mother of Grace” (collection “Church songs”, 1900). The praising song in honor of Bar’s Virgin was created for “Bohohlasnyk” for his icon glorifying part, as a “poetic crown” to respect Virgin Mary. The song “Christ the Fair King” (collection “On Holy Lent”, 1902) is written on text of the song from “Bohohlasnyk” (1790). A poetic text tells about Judas’s betrayal. The song belongs to the Lord’s songs and is created to glorify God and dedicated to the history of main events of salvation. The Christmas song “Vozveselimsia vsi kupno nyni” (collection “Christmas Eve”, 1905) is written on text of the song from “Bohohlasnyk”. The text of the song has a religious content and depictures the birth of Jesus Christ. The song “Stan’ David z husliamy” (collection “Christmas Eve”, 1905) on text from “Bohohlasnyk”, 1790, stands out from the Christmas repertoire songs. Prophet David glorifies God. He is an example of the churchgoer who can unite all nature powers for people’s good and to praise the creator. The spiritual songs of M. Kopko are addressed to the religious people. They were very popular among the believers. M. Kopko added his big part to the development of spiritual songs – one of the leading genres ancient Ukrainian culture.