"CULTURE AND CREATIVITY SYNTHESIS" IN MUSIC ART REALITIES AT THE TURN OF XIX – XX CENTURIES (BASED ON THE EXAMPLES OF CHOIR COMPOSITIONS BY S. TANIEYEV)
DOI:
https://doi.org/10.32461/2226-0285.2.2015.146976Keywords:
culture and creativity synthesis, turn of centuries, cultural tradition, individual music styleAbstract
The problem of integration, synthesis of multistyle sources, variety of ways of style trends reciprocity in choir cycle "Twelve choires a cappella for mixed chorus" or. 27, words written by Y. Polonsky, from the point of view of preservation and rethinking of traditions and style synthesis is investigated in the article.
The trend of style synthesis, assimilation of models of previous epochs brightly shown in S. Tanieyev’s creative activity, whose potentioal was shaped and carried out during the period from the late XIX – early XX centuries, explicitly stands out as one of the leading trends in pluralism of styles defined by the turn of centuries, in complicated mixture of various style orientations (search of the new, separation from traditional systems, and, at the same time, strive for balance, compensation, preservation of progressive development of art).
The aim of the article is to find out variaty of ways style trends reciprocity, style synthesis effectiveness in the author's compositions as the expression of important style processes of the given period.
Being a representative of musical romantism in historical sense, S. Tanieyev, at the same time, apealled to models deeply intellectual in music art: Renaissance, barocco, classicism.
The search of something new together with assimmilation and rethinking of traditions appeared in several aspects of S. Tanieyev's activity.
The key point of S. Tanieyev's spiritual world and supreme tradition turned out to be philosophy. There is a resonation with Bach concepts of creative acivity, with the problematics of classicism as well as with ethic essence of the Russian religious philosophy of the Silver Age in his reference to masisve philosophic and ethic problems, in understanding the need in constant pursuit of ethical perfection, of the themes of complexity and counterpoint of the world, which means the unity of polar and, at the same time, cooperating beginnings of "life – death".
Connection with barocco tradition possesses a special place in S. Tanieyev's heritage of chorus compositions. Russian chorus music owes to the author's creation of mastery and extraordinary compositions in different genres – opera chorus, cantatas, certain chorus a cappella, massive chorus.
A very important place in composer's activity, in his theoretical concept, is devoted to polyphony – a significant achievement of the Renaissance and barocco.
The author’s relying on rhetoric resonates with both barocco traditions and symbolist poetics of the late XIX – early XX centuries. Using music and rhetoric shapes, generalization, conventionalism, whose "eternal meaning" gives them the meaninf of an emblem, symbol of certain notiions, the compose tried to "decode", "interpret" the deep sense of poetic content, fill a note text with spiritual programme.
Textual and compositional structure of Tanieyev's choires are rather difficult, and can be revealed only to those listeners, who are aware of barocco music lexis.
The motive of chross – a symbol of chross agony – is emphasized among the most significant ones. It is this very shape which ties chorus cycle on Y. Polonsky's words. Austerity, ascetism, concentration of the motive resonates with the content of the text in those its parts where this music symbol is introduced. Rhetoric sign is included into extremely important, philosophically significant in dramatic sense moment of the cycle.
A drawing of a circle (circulatio – turning around) became one of the most intensive and meaningful signs in S. Tanieyev's choires. It is associated with the idea of eternity, incredible beauty and verity in barocco music.
In intonation dramatism of choires there can be found other music and rhetoric shapes as well, which are important for the dramatism of the whole.
Thus, rhetoric shape anabasis, which denotes the symbol of resurrection in barocco music, appeares mostly in choires apealling to reveal lyrical beginning. Catabasis (a symbol of dying, a sign of sorrow, "putting into coffin" on barocco music) can be seen in the cycle of choires where there is a tense and dramatic beginning.
Such rhetoric shapes as passus duriusculus, saltus duriusculus are applied to express mourning, suffering. Due to their fixed and stable semantics these music shapes were turned into "signs", emblems of certain feelings and concepts.
Detailed study of means of music expression revealed polyphonism of S. Tanieyev's thinking. His massive chorus cycle became the ideal of reciprocity of different style trends in art, showing the ties between epochs, defining integrity of composer's style.
References
Асафьев Б.В. О хоровом искусстве / Б.В. Асафьев. – Л. : Музыка, 1980. – 215 с.
Коломийцов В.П. Статьи и письма / В.П. Коломийцов. – Л. : Наука, 1871. – 224 с.
Корабельникова Л.З. С.И. Танеев / Л.З. Корабельникова // История русской музыки. – М., 1994. – Т. 9. – С. 148–214.
Корабельникова З.С. Творчество С.И. Танеева / Л.З. Корабельникова. – М. : Музыка, 1986. – 296 с.
Курт Э. Основы линеарного контрапункта / Э. Курт. – М., 1931.– 304 с.
Левая Т. Русская музыка начала ХХ века в художественном контексте эпохи / Т. Левая. – М. : Музыка, 1991. – 164 с.
Лобанова М.Н. Западноевропейское музыкальное барокко : проблемы эстетики и поэтики / М.Н.Лобанова. – М. : Музыка, 1994. – 318 с.
Михайлов М. Этюды о стиле в музыке / М. Михайлов. – Л. : Музыка, 1990. – 288 с.
Скворцова И.А. Модерн – Барокко : опыт культурологической ретроспективы / И.А. Скворцова //Бортнянский и его время. К 250-летию со дня рождения Д.С. Бортнянского. – М., 2003. – Сб. 43. – С. 226–239.
Танеев С.И. Дневники / С.И. Танеев ; [сост. Л.З. Корабельникова]. – М. : Музыка, 1981. – Кн. 1. –1981. – 334 с.
Танеев С.И. Дневники / С.И. Танеев ; [сост. Л.З. Корабельникова]. – М. : Музыка, 1982. – Кн. 2. –1982. – 430 с.
Танеев С.И. Дневники / С.И. Танеев ; [сост. Л.З. Корабельникова, Л.И. Даренская]. – М. : Музыка,1985. – Кн. 3. – 1985. – 560 с.
Танеев С.И. Подвижной контрапункт строгого письма / С.И. Танеев. – М., 1959. – 450 с.
Федосова Э. К постановке проблемы "барокко – классицизм" / Э. Федосова // Музыка барокко и классицизма. – М., 1986. – Вып. 84. – С. 5–20.
Чайковский П.И. – Танеев С.И. Письма / [cост. В.А. Жданов]. – М. : Госкультпросветиздат, 1951. –555 с.
Чегодаев А.Д. Художественная культура ХVІІІ века / А.Д. Чегодаев // Западноевропейская культу-
ра ХVІІІ века. – М., 1980. – 254 с.
Эскина Н.А. Эмблематика круга в композиции и тематизме барокко / Н.А. Эскина // Бортнянский и его время. К 250-летию со дня рождения Д.С. Бортнянского. – М., 2003. – Сб. 43. – С. 226–239
Asafiev B.V. (1980). About choral art. Leningrad: Muzyka [in Russian].
Eskina N.A. (2003) Emblems range in composition and Baroque thematism. Bortniansky and his time. To the 250th anniversary of the birth D.S. Bortnyansky. (issue 43), (pp. 226–239). Moscow [in Russian].
Fedosova. E. (1986). To formulation of the problem, "the baroque – classicism". Muzyka baroko i klassitsizma. (issue 84), (pp. 5–20). Moscow [in Russian].
Kolomiytsev V.P. (1871). Articles and letters. Leningrad: Nauka [in Russian].
Korabel'nikova L.Z (1986). Creative work of S. I. Taneev. Moscow: Muzyka [in Russian].
Korabel'nikova L.Z. (1994). S.I. Taneyev. Istoriya russkoj muzyky, (vol. 9), (pp. 148–214). Moscow [in Russian].
Kurt E. (1931) Fundamentals of linear counterpoint. Moscow [in Russian].
Levaya T. (1991). Russian music on beginning of XX century in the artistic context of the era. Moscow: Muzyka [in Russian].
Lobanova М.N. (1994). Western European baroque music: problems of aesthetics and poetics. Moscow: Muzyka [in Russian].
Mykhajlov М. (1990). Etudes about the style in music. Leningrad: Мuzyka [in Russian].
Skvortsova I.А. (2003). Nouveau – Baroque: experience of culturogical retrospective. Bortniansky and his time. To the 250th anniversary of the birth D.S. Bortnyansky. (issue 43), (pp. 226–239). Moscow [in Russian].
Taneyev S.I.(1981). Diaries. Korabel'nikova L.Z. (comp.), (Book 1). Moscow: Muzyka [in Russian].
Taneyev S.I.(1982). Diaries. Korabel'nikova L.Z. (comp.), (Book 2). Moscow: Muzyka [in Russian].
Taneyev S.I.(1985). Diaries. Korabel'nikova L.Z., Darenskaya L.I. (comp.), (Book 3). Moscow: Muzyka [in Russian].
Tchaikovsky P.I.,&Taneyev S.I. (1951). Letters. Zhdanov V.A. (comp.). Moscow: Goskultprosvetizdat [in Russian].
Tchegodaev A.D. (1980) Artistic culture of XVIII century. / А.Д. Чегодаев // West European culture of XVIII century. Moscow [in Russian].
Тaneyev S.I. (1959). Counterpoint in the Strict Style. Moscow [in Russian]
Downloads
Issue
Section
License
Copyright (c) 2018 Almanac "Culture and Contemporaneity"
![Creative Commons License](http://i.creativecommons.org/l/by/4.0/88x31.png)
This work is licensed under a Creative Commons Attribution 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).