Spiritual concert. The genre of choral concert in Russian sacred music at the turn of the 19th century

For choral art at the present stage of its development, the processes of genre transformations are becoming more and more relevant and exciting for a wide range of phenomena. In modern musicology, genre appears as a form of existence of music in society, a form of sound manifestation of human worldview and thinking. In its ontological integrity, the genre carries a certain code, and the genre approach to the study and perception of music implies an idea not only of norms musical language, but also about the peculiarities of the worldview, about the musical and communicative situation programmed in a given genre, about its place in the genre system of the era, and, accordingly, about the hierarchy of values ​​and forms of functioning of musical culture.

It so happened historically for many reasons that the rich spiritual and musical heritage of the past, forgotten and as if forever disappeared from the memory of history, was again destined to rise again and reveal itself to the searching gaze of modernity. Composers, performers, and musicologists were equally called upon to comprehend the past era in order to continue the interrupted tradition of church and temple art, who saw their goal as the revival of a huge cultural layer of the national spiritual heritage. Among the large number of genres of sacred music in modern compositional and performing practice, a special place has been occupied by the sacred choral concert - a long-lived genre that has experienced many transformations over the three-century history of its development, but has surprisingly retained its face and place in musical culture: Multifaceted and changeable, The spiritual concert experienced a period of bright prosperity in the 20th century.

A number of modern, sometimes very free interpretations by composers of this genre clearly confirm the idea of ​​constant development and, consequently, its gradual transformation. This idea has been varied by different researchers. As M. Bakhtin writes, for example, “a genre is always the same and not the same, always old and new at the same time. That is why the genre is able to ensure unity and continuity of development." In relation to music, the same idea is carried out by O. Sokolov, noting that “it is necessary to imagine the morphological system (of music - I.S.) as dynamic, taking into account all kinds of changes in the life of genres and genres, their complex mutual influence, the emergence of new and rethinking of previous phenomena ." .

Various approaches to the study of genre in music indicate both the complexity of the phenomenon itself and the activity of its multidimensional research. As is known, the traditional approach is associated with the consideration of genre as a classification category (M. Kagan and some musicologists also call it morphological). In this case, the genre continues to remain, first of all, a category of specific and generic division of music. Another direction in the germination of the “etymological” basis of the concept of genre is determined in modern theory by the idea of ​​genre as a typological category (a similar status of the genre was emphasized by G. Pospelov: “Genres are not a historically specific phenomenon, but a typological one”). At the same time, the genre itself in the context of the approach under consideration acts as a “type”, “holistic model” (T. Chernova), “matrix” (E. Nazaikinsky), “typological generalization” (M. Mikhailov), etc.

Some authors, to indicate the basis of a larger or deeper genre community, resort to the concept of a “genre archetype” (M. Aranovsky). The word archetype itself, translated from Greek, means beginning, principle, and can be understood both as the beginning and as something important that is inherent in the genre. In one of M. Aranovsky’s works, the category of genre is also associated with the concept of “genetic code,” which is interpreted here as the content of the genre’s memory. This article by M. Aranovsky is an extensive and in-depth study of the question posed by the author “what the genre remembers” and what “genetic code” it brings with it to a musical work, since the author designates the central problem of the genre as “the problem of a stable type of work.” In this case, these concepts, indeed, highlight the nature of the genre references of the work differently than the categories of “genre canon”, “norm”, switching attention from some external prescription, “imperative” - to the internal potential and need to generate different types historical existence of the genre.

M. Aranovsky strives to identify the stable structure of the genre as its invariant, which ensures the existence of a “genre paradigm” that “vertically” unites specific works. According to Aranovsky, a system of features forms the structure of a genre in a combination of its external and internal sides. The external one, in contact with the real world, expresses the ontological essence of the genre, determined by the social context and situational function. The internal structure is the carrier of the “genetic code” of the genre, and “the fulfillment of the conditions laid down in it ensures the reproduction of the genre in a new text.” In the context of postmodernism, the concept of “genetic memory” of the genre takes on a special meaning and relevance.

In the second half of the 20th century, in the era of the collapse of classical canons, the loss of integrity and stability of style and genre, musical art finds new genre-forming paths. Stereotypes are being demolished, the usual genre boundaries are being blurred, new genres are being discovered, in which the outlines of the old ones are barely discernible. Innovation comes to the fore as one of the cultural attitudes. One of the consequences of this process is, according to M. Lobanova, the penetration of genre experimentation into music. In addition, the genre-genre loses its typological stability and becomes a multiple phenomenon, growing into a “supergenre” or providing the opportunity for multiple readings of the cyclic form.

The genre and style diversity of modern spiritual choral concerts necessitates subsequent generalization in order to understand the specifics of the genre as a whole and determine its general characteristics. The nature of the images, the connection with the stable traditions of concert genres in the individual works under consideration are not the same, and they can be classified as a concert genre with more or less justification, sometimes quite conditionally. It is absolutely clear that a scientific and objective assessment requires the development of clear criteria genre essence spiritual concert at the present stage.

That is why the spiritual choral concert (with its internal laws) requires a comprehensive study from the point of view of its place in the historical-musical and historical-cultural process. The model of the history of a separate genre in the form of a single evolutionary line remains in demand today more than ever, because in the history of music there are phenomena of “non-unidirectionality” and “nonlinearity” of genre processes. This determines the relevance of the chosen topic.

One of the factors determining the evolution of the genre is the presence of two interconnected sides in the nature of its functioning - activity (related to its life purpose) and artistic (arising from its belonging to art). The nature of the relationship between these sides is a changeable phenomenon. The primacy of the active side contributes to the strengthening of tradition, existing norms and leads to the conservation of the genre model. The predominance of the artistic side leads to a violation of existing stereotypes, to constant updating due to the changing nature of art. Particularly indicative is the relationship between the active and artistic sides as a factor determining the nature of the evolutionary process in the field of cult genres.

The historically determined duality of the genre of the choral concert - spiritual in origin (“means that it can be included in the divine service”) and predominantly secular in existence (the name concert “firmly connects it with a specific area of ​​​​secular art”) - was the reason for its complex historical reputation. Some considered the concert insufficiently spiritual, others considered it unrelated to secular musical culture.

The Russian choral spiritual concert, which historically developed towards the end of the 17th century, still exists today as a genre of liturgical singing in the Russian Orthodox Church. Despite the fact that “there is no name concert in the liturgical charter, it is firmly established in the rite of the liturgy. Moreover, the concert has a specific place in the service: it is performed during the communion of the clergy in the altar. [.]. Throughout the 18th century, the concert genre quickly developed and firmly established itself in worship, gradually replacing the sacramental verse.”

The consolidation of the concert genre in church services has led to a change in the very understanding of the essence of liturgical singing: it becomes an element not strictly liturgical, but associated with extraneous phenomena brought from outside, often to satisfy the aesthetic sense of parishioners, demonstrate the art of singing, and compositional skills. [.] As a result, the artistic function began to prevail over the vital, ritual function.”

In the second half of the 18th century, a revaluation and rethinking of the choral concert genre took place. It began to be viewed as a monofunctional cult, and its musical and genre universality, which was a consequence of polyfunctionality, became incomprehensible and unjustified, causing criticism from Russian musicians of the 19th century.

In the 20th century, IL Gardner, in a fundamental study devoted to the liturgical music of the Russian Orthodox Church, defines the concert as a para-liturgical genre, in turn related to non-statutory, non-canonical singing. He includes among them those compositions that are intended to be performed at certain moments of the divine service, although not provided for by the charter, but approved by the church authorities for their performance in the church.

The degree of development of the problem.

The diversity and complexity of the processes of genre formation of a spiritual concert have always been the subject of close attention of researchers. Thus, already in the 18th century, academician Jacob von Staehlin (a witness to the early flowering of the classical spiritual concert genre) in his work “News on Music in Russia” (1769) left a number of information useful for understanding the historical pattern of the emergence of a new concert-choral style for that time. In 1867, D. Razumovsky’s book “Church Singing in Russia” was published. Generalizations made by Razumovsky served as the basis for A. Preobrazhensky’s book “Cult Music in Russia,” published in 1924.

Starting from the 1930s, T. Livanova made a great contribution to the study of the partes concerto (second half of the 17th - early 18th centuries), and later - in the 1960s - S. Skrebkov, Yu. Keldysh, N. Uspensky. Subsequently, research in this area was successfully continued by V. Protopopov, N. Gerasimova-Persidskaya, T. Vladyshevskaya and many others. The efforts of these authors revealed the wealth of an entire century of Russian professional culture, which has enormous historical and artistic significance.

The scientific understanding of the classical choral concert (the second half of the 18th - early 19th centuries), which was created in the era of the rapid formation of the Russian school of composition in its active ties with Western European culture, proceeded differently. The classical concerto was studied, as a rule, using examples of the work of one or another composer (M. Berezovsky, D. Bortnyansky, etc.). As a result, each study was of a private, local nature, which did not make it possible to trace the fate of this genre as a whole. M. Rytsareva’s monographic study “The Spiritual Concert in Russia in the Second Half of the 18th Century,” published in 2006, is the first serious work devoted to the classical choral concert as an independent and holistic phenomenon.

Spiritual concert late XIX- the beginning of the 20th century, called late romantic, due to certain historical patterns of its development, does not become the leading genre in composer's creativity, as in previous periods, so special works devoted to it are quite few in number. The most interesting is the research of I. Dabaeva, who published several scientific articles on the style and genre trends of the spiritual concert of this period.

In addition, as is known, at this stage many composers of the New Direction turned to the study of the genre, and the heated controversy that accompanied their activities, including their compositional work, has found its response in our time. Before 1917, many works about the New Direction were published, among their authors were the leading critics and composers of those days - A. Nikolsky, A. Kastalsky, A. Grechaninov, N. Kompaneisky, priest. M. Lisitsyn, A. Preobrazhensky. To date, many new works have been created about the movement in question: these are books, articles, chapters in the collective works of A. Kandinsky, N. Gulyanitskaya, M. Rakhmanova, S. Zvereva, E. Levashev and others, revealing both the work of individual composers and general theoretical and practical issues related to their activities.

The enormous interest that has arisen in the genre of spiritual concert in modern musicology has also aroused a number of works in this direction. The most fruitful study of it is carried out by such researchers as Yu. Paisov- and N. Gulyanitskaya. A significant contribution to the definition of the genre of the temple (choir) concert in the second half of the 20th century in Russia and Orthodox abroad was made by musicologist S. Khvatova, who defended her PhD thesis in 2006.

In musicological literature different periods many issues related to sacred music were raised, but the spiritual concert as an independent genre, as a separate branch of Russian art with its own history, with its own patterns, traditions, relationships with other musical genres, in its progressive significance for the development of Russian musical culture, was not subject to separate complex analysis.

The object of the study is the genre of the Russian spiritual concert throughout its evolution, that is, from the mid-17th to the beginning of the 21st century.

The subject of the study is the evolution of the Russian spiritual concert genre and its typological features.

The purpose of the work is to study the main stages of the development of the Russian spiritual concert with the identification of the forms and methods of its existence in the system of Russian musical art.

Achieving this goal requires solving a number of problems:

To trace the evolution of the Russian spiritual concert (general characteristics of the genre, determination of its boundaries, historical prospects);

Consider the dynamics of modification of the stylistic parameters of the genre based on the analysis of the texts of spiritual concerts, their texture, musical thematics, and formation;

Identify stable and mobile features of the genre with the definition of its archetypal model;

To establish the degree of compliance of modern spiritual concerts with their genre prototype and to identify factors for updating the genre;

Determine the role of the spiritual concert in the formation of Russian choral culture.

Research methodology. In solving the designated range of problems, a number of general scientific research methods were used, but the following methodological principles are directly related to the problems of the work. The most relevant seems to be the historical-typological approach of modern theory, which focuses on the modification of the characteristics of the genre in its diachronic existence and in the context of historical changes in genre systems as a whole, which dictates the need to include its history in the theoretical consideration of the genre, systematics by identifying the “structure of the historical formation of the genre” , his “models of development”. “In the light of the historical-typological approach, the phenomenon of genre appears as the embodiment of the dialectic of the stable and the changeable in the artistic-historical process.” That is why it became necessary to attract works of a wide range of content created by domestic authors.

In developing the topic, works on philosophy (N. Berdyaev), cultural studies (L. Berezovaya, N. Berlyakova), as well as the history of Russian music and church singing in Russia (M. Brazhnikov, V. Vladyshevskaya, I. Gardner, N. Kompaneisky, Yu. Keldysh, M. Lisitsyn,

B. Metallov, A. Nikolsky, A. Preobrazhensky, D. Razumovsky,

S. Smolensky, N. Uspensky). The methodological basis was also research on issues of Christian culture and* art, works on liturgics, theology (V. Bychkov, I. Ilyin, D. Likhachev, T. Livanova, V. Martynov, V. Medushevsky, OLavel Florensky, etc.) .

For the development of this topic, works concerning the study of the historical context, the essence of the changes that took place in Russian sacred music (research by T. Vladyshevskoshch N. Gerasimova-Persidskaya, N. Gulyanitskaya, I. Dabaeva, E. Dolinskaya, N. Zabolotnaya, A. .Kandinsky, E. Levashev, N.P. and N.V. Parfentiev, Y. Paisov, V. Protopopov, L. Raaben, M. Rakhmanova, M. Shytsareva). Archival materials from the collections of the State Historical Museum (Moscow), the Central State Archive of Ancient Acts (Moscow), the State Library named after V.I. Lenin (Moscow) were of great importance for determining the features: development - genre: of the Russian spiritual concert. . Moscow).

Along with the historical research method, which allows us to consider the phenomenon under study in the process of its formation and in the general artistic context of the era, analytical methods of musicology are used (the theoretical basis is the fundamental concepts of modern musicology, presented in the works of B. Asafiev, V. Bobrovsky, V. Vasina-Grossman , V. Kholopova, Y. Kholopova, etc.), including developments on issues of genre and style (M. Aranovsky, A. Korobova, M. Lobanova, E. Nazaikinsky, G. Pospelov, O. Sokolov A. Sokhor) .

As a guideline, M. Aranovsky’s position is adopted that “the determination of the external and internal structures of the genre allows us to understand the mechanism of its historical evolution.” That is why the genre of spiritual concert in the dissertation research is included in the broad picture of social and cultural life countries. It was important to comprehend the identified material in time, in the process of stylistic changes, in the interaction of traditions, national and genre influences, the creative individualities of its largest creators, in the value systems of a particular period. All these research angles taken together should present the choral concert of each era in its living connection with culture and life.

Revealing the most striking works in the genre of spiritual concert, the composer's work is analyzed both from the point of view of individual characteristics and stylistic dynamics, and in comparison with the compositions of his predecessors and contemporaries. The category of the author's style is considered in the dissertation as a multi-level system of principles of the composer's artistic thinking, generated by the task of embodying religious themes in the genre of a spiritual choral concert.

Turning to the consideration of the stylistic parameters of the Russian spiritual concert at different stages of its evolution led to the choice of a unified system of presentation and material, where such components of the genre as the textual basis, texture, musical thematics, and formation are chosen as parameters of the musical and poetic series. The unity of the method allows us to more clearly trace the evolutionary changes that occurred in the genre of the spiritual concert throughout its development, and to identify stable and mobile genre features. It is this approach that, as its ultimate goal, involves a comprehensive and highly informative look at this area of ​​musical creativity.

The scientific novelty and theoretical significance of the work is determined by the insufficient degree of development of this problem, and its study is determined by the following parameters:

For the first time, an attempt has been made to study the spiritual concert as a single, genre-defined layer of Russian music;

For the first time, the Russian spiritual concert is studied comprehensively from the point of view of its historical, evolutionary development;

The most important point of the work is to clarify the changes in the “genre archetype” of a spiritual concert at various levels of the musical and poetic series (text, texture, musical theme, form);

A large number of little-known, but no less artistically valuable works by composers of past eras (V. Titov, N. Diletsky, S. Degtyarev, A. Grechaninov, A. Nikolsky, etc.), as well as new works, are being introduced into scientific circulation modern authors(G. Dmitriev, V. Dovgan, N. Sidelnikov, D. Smirnov, S. Trubachev, A. Schnittke and others).

Provisions for defense:

The Russian spiritual choral concert is a deeply rooted phenomenon that did not arise spontaneously, but through the interaction of many processes in religious and secular life and therefore largely dependent on the specific historical and cultural situation of a particular era;

The spiritual concert developed discretely, that is, in peculiar bright “flashes”, passing through several successive stylistic formations - from the Baroque partes (second half of the 17th - early 18th centuries), through the classical concert (second half of the 18th - early 19th centuries), late romantic ( late XIX - early XX) and, finally, to the modern (late XX - early XXI centuries).

On various stages in the development of the Russian spiritual concert, qualitative metamorphoses took place, which ultimately led to a transformation of the genre, expressed in a series of genre modulations and changes in the parameters of the genre;

The spiritual text, the principles of the concert and a pronounced national characteristic remain constant qualities that determine the belonging of various musical forms and models to the genre of the spiritual choral concert.

The practical value of the study lies in the fact that it has prospects for further deeper and more comprehensive study of this issue, for use in choirmaster and pedagogical practice. The dissertation research will draw the attention of professional musicians, choirmasters, and regents to this problem. church choirs, music teachers educational institutions. This work can be used in lecture courses on choral literature, choral studies, choral arrangement, history of Russian music and Russian sacred music.

Approbation of work. The dissertation was discussed at a meeting of the Department of History and Theory of Music of the Saratov State Conservatory named after L.V. Sobinova. Many aspects developed in the dissertation constituted one of the sections of I. Sviridova’s author’s work program for the course “Russian Sacred Music” for music schools (colleges) and schools (colleges) of the arts; they are practically used by the author in the lecture course “Russian Sacred Music” in Saratov Regional College of Arts (2003-2009).

The main conclusions and provisions of the dissertation research were presented by the author at scientific conferences in the form of articles, theses and reports: II International Scientific and Practical Conference “Music in the Modern World: Science, Pedagogy, Performance” (Tambov, 2006), V and VI All-Russian scientific and practical conferences for students and graduate students “Problems of culture and art in the worldview of modern youth: continuity and innovation” (Saratov, 2006, 2007), International scientific and practical conference “IV Serebryakov Scientific Readings” (Volgograd, 2006 ), International scientific and practical conference of students and graduate students “Musical art and science in the modern world” (Astrakhan, 2006), All-Russian scientific and practical conference “Bolkhovitinovsky readings - 2007” “Cultural space of Russia: past, present, future” ( Voronezh, 2007), International scientific and practical conference “Current problems of history, theory and methodology of modern musical art and education” (Orenburg, 2008), Open scientific and practical conference dedicated to the 125th anniversary of the birth of B. Asafiev (Saratov, 2009)

Work structure. Throughout the history of its existence, which is more than three centuries, the genre of the Russian spiritual concert has gone through certain stages of its development and the most intense flowering. Four main stages in the evolutionary development of the genre are clearly distinguished: partes choral concert (second half of the 17th - early 18th centuries), classical choral concert (second half of the 18th - early 19th centuries), late romantic choral concert (late 19th - early 20th centuries), modern choral concert concert (late 20th - early 21st century). The first two stages are studied separately in the dissertation; chapters I and II of the study are respectively devoted to them. It seemed fruitful to study the last two stages (Chapter III of the work) by comparison in view of the following considerations: firstly, these periods are part of a single era, marking two milestone phases of artistic development, and secondly, many discoveries in the genre of sacred music that were made at the turn of the 19th-20th centuries, continued at the end of the 20th century. Thus, the presented dissertation research consists of an Introduction, three chapters, a Conclusion, a Bibliography and two appendices.

CONCLUSION

The Russian spiritual choral concert is “a deeply rooted phenomenon that arose not spontaneously, but through the interaction of many processes in religious and secular life.” Considering the evolution of the genre from a historical perspective, it can be noted that the spiritual concert was “open” to new trends in art, especially at turning points in the history of Russia, therefore it is always modern and in demand in society. “As the centuries-old history of Russian choral music shows, the concert is as paramount, the leading genre for it (in terms of the importance of the artistic concepts it contains) as for instrumental music - a symphony, for theatrical music - opera, etc.” . The active creative search of composers and the intensive evolution of the spiritual concert in the last two decades indicate that the artistic and liturgical potential of the genre has not yet been exhausted.

Considering the special path of development of the spiritual choral concert, the dissertation proves the deep internal conditionality of the primacy of the artistic side in the functioning of this genre, which led, on the one hand, to the bright originality of its features, determined by the properties of the musical language, and, on the other hand, to the pulsating nature of evolution, combining both periods of prosperity, rise, and prolonged oblivion.

Let us recall that the spiritual concert passed in its historical evolution through several successive stylistic formations - from the Baroque partes (late 17th - early 18th centuries), through the classical concert (late 18th - early 19th centuries), late romantic (late 19th - early 20th centuries) and, finally, to the modern (late 20th - early 21st centuries). The partes concert appears as the beginning of the evolution of the genre, the classical - as a formed genre archetype, with clearly developed genre characteristics, the late romantic - as the beginning of the transformation of the genre due to a change in its artistic side and a gradual division into two types - temple and extra-temple, modern - as a complete change in the genre structures, the formation of a new style and genre concept.

A peculiar pattern can be traced in the evolution of the genre. If you pay attention to the historical periodization, you can clearly see that the spiritual concert developed discretely, that is, in peculiar bright “flares”. Then, around the middle of each century, the spiritual concert fell into a period of inertia. During such periods, most likely, there was a comprehension of the accumulated experience in this genre and after a certain period of time it, like a “phoenix from the ashes,” was reborn with extraordinary force and in a completely new quality.

Modern researchers of the spiritual concert are trying to understand and explain the true reasons for such “nonlinearity” and discontinuity in the development of the genre. Among the main reasons, the following can be identified: the partes concert did not develop due to the fact that the church authorities began to impede innovation, that is, the penetration of elements of secular culture into the spiritual, and “the intonation structure of the concert lagged behind the pace of evolution of the intonation structure of the era.” The classical concert did not receive further bright development due to the cruel government reaction and censorship of the directors of the Court Singing Chapel - a period of “gloomy timelessness” (E. Levashev). And finally, the Soviet era was the time of the existence of an atheistic culture that rejected any attempts to create religious music.

It can definitely be noted that the evolution of the genre took place in close interaction with the historical, political, and ideological situation in Russia. The impetus4 for intensive development has always been intense periods in the history of our country, marked by significant shifts in social and cultural life and the formation of new criteria, new trends in art. Developing discretely, this universal genre of choral music is revived in every era in a completely new quality, but at the same time maintains its traditions and continuity in the development of Russian choral art.

The similarity of all periods of the rise of the spiritual concert genre lies in the increasing role of choral music in the artistic life of society and in the appeal to ancient layers national culture, to those aspects of it that carry a high ethical and moral principle. Each “wave of revival” bore the imprint of its time, the general stylistic direction in the art of its era. Particularly noteworthy is the difference between the last period of development of spiritual genres, associated with the forcible limitation of the influence of cult music. If at previous stages the development of sacred music was based on the continuous tradition of its existence (receding into the background, pushed aside by other forms, but still continuing to be passed on from generation to generation in live sound), then after the revolution of 1917 for a significant part of society there was a partial break in traditions , and as a result, direct continuity in the transmission of the entire wealth of spiritual genres associated with church ritual was lost.

Initially, the spiritual concert was formed as a genre intended for church services, but the peculiarities of its development are associated with the gradual secularization of the genre, with the strengthening of the secular principle. Having gone through a long path of evolution, the spiritual concert at the present stage is a “complex synthetic formation.” Spiritual concerts in the post-Soviet era, formed in new modern forms, become a kind of “zone of free creativity”, where secular methods of development quite rightfully strengthen the concert branch of the once church genre.

Another important aspect in identifying the features of the development of the genre is the process of strengthening the individual, authorial principle. The question of churchliness and spirituality of any form of art cannot be separated from the question of religious experience and life understanding, for any art reflects, first of all, the inner world of a person, the tone of his attitude towards to the outside world, to people and to yourself. The creator-artist appears against the background of the life understanding and aspirations of his era and his society. Therefore, speaking about the composer’s spiritual works, it is necessary to consider his work in connection with the religious and church state of his contemporary society.

Each spiritual composer, reading a spiritual text, conveys not so much what is given in this text, but how he perceives it, what feelings arise in him when reading or thinking about this text. The church composer is subjective to a much lesser extent, and because of this, he is more contemplative. He does not embody his own feelings, but the feelings of the entire church.

Starting from the choral concerts of V. Titov, D. Bortnyansky, where the specificity of the author’s style is already becoming obvious, but is still associated with the more unified styles of Baroque and Classicism (in comparison with the 19th century) and until the beginning of the 20th century, one can observe the most interesting processes in the development of individual creativity beginnings in the genre under study.

The Baroque era was the heir to pre-individualist periods in the history of art. In a partes concert, the musical material is replete with phrases of a general nature, peculiar stylistic “clichés” that could move from the works of one composer to the work of another. The classical concert, while retaining in many respects the typical features of its predecessor, is significantly enriched due to the bright musical thematics that acquire an individual context. The musical structure of D. Bortnyansky's concerts, combining the features of instrumentality and folk song character, was noticeably different from the works of A. Wedel, who relied on Ukrainian songwriting, or the concerts of S. Degtyarev, who developed the features of an operatic melodic style.

The romantic 19th century began to cultivate a unique, inimitable style of the artist-genius, marked by the spark of God. Although the formation of individual geniuses occurred earlier, in XIX century The requirement for each artist to have his own indispensable stylistic individuality has become overwhelming. That is why the concerts of A. Arkhangelsky, A. Grechaninov, A. Nikolsky, P. Chesnokov and others receive a completely individual focus, both from the point of view of musical and thematic content, and from the point of view of compositional structure.

The 20th century developed its own standards regarding style. As the heir to the most “individualistic” 19th century, he also jealously guards the “sovereignty of an individually unique compositional style.” But due to the conscious pluralism of culture, the 20th century formed a “fundamental stylistic plurality”, so the main, central stylistic concept remained the concept of an individual, inimitable, unique composer’s style, which is largely determined by “objective socio-cultural conditions and personality traits of the author.”

At the present stage of development of the genre of spiritual concert, Yu. Paisov notes the individual author’s interpretation of the genre, and, discussing the topic of the continuation and development of the tradition of the genre, states the fact that if “...some of the choir directors conducting everyday practical work with church choirs cannot do not take into account the specifics! modern singing practice in relation to worship and sometimes provide examples of a choral concert intended for the service, then composers who compose spiritual concerts today often consider themselves free from the need to follow certain traditions of the genre, the established signs of the “genre style” (A. Sokhor), and according to they choose at their own discretion (without regard to the history of the genre) the literary basis, the musical language, and the style of the work.”

The musical language in an individual composer's style includes many parameters - the author's characteristic personal intonation, a unique choice of genre means, favorite dramatic concepts of musical works, an individual interpretation of the elements of a musical composition - harmony, melody, rhythm, musical form, texture. Thus, in contrast to the overall appearance of partes concerts, the individualization of the spiritual concert genre at the end of the 20th century was brought to a certain absolute.

The return to life of the ancient concert genre is taking place today under special historical conditions. Therefore, in its modern state (in contrast to the previous, pre-revolutionary appearance of this genre), the domestic choral concert represents a completely different quality - although very relevant and promising (like everything that now relates to the sphere of spiritual songwriting), but stylistically quite motley and genre-specific unsettled phenomenon.

At the present stage, the dual nature of the modern concert is becoming even clearer: as a genre, it is rooted in the distant past and grows out of it, continuing the life of a centuries-old tradition in music (this connection determines the real historical prerequisites for the current revival of the concert), and as a unique artistic layer, it entirely belongs to the modern era, is a completely new historical and stylistic formation.

In order to understand what a spiritual concert is today, it is necessary to emphasize two integral aspects of the genre under study - its traditionality and novelty, historically stable, constant and opposing it - dynamic, changeable. These are precisely those pairs of dialectically related concepts that correspond to any historically developing phenomenon.

The sacred choral concert in the second half of the 20th century turned out to be more included in the system of secular choral genres than the chants of liturgical cycles. Therefore, its fate and features of modern functioning have developed somewhat differently. The revival of the choral concert genre in the second half of the 20th century was not a restoration of the genre archetype, but its generalized embodiment, a reflection of the ideas of modern composers about the past of Russian musical culture.

The lack of continuity in the existence of the choral concert could not but affect the structure of the genre, the complex of defining genre features in the works of the new stage of the genre’s existence. Choral concerts of the modern period are characterized by a wide range of these characteristics.

The genre is currently in a state of transformation, as evidenced by many factors. Innovation is manifested in different aspects and directions of choral creativity. There is an expansion of the system of musical expressive means: on the one hand, an appeal to ancient Russian, archaic layers, on the other, a desire for a radical update of musical compositional techniques (dodecaphony, seriality, co-norics, aleatorics). In the musical language of their compositions, composers boldly introduce modern compositional techniques and means of expression, originally formed in secular works (from tonality to seriality, from speech recitation to harmonic polyphony).

The internal genre "restructuring" also gives rise to the possibility of multiple readings of the cycle, its ambiguous interpretation. This is due to new dramatic solutions, principles of compositional organization, due to a departure from the norms of the classical type of concert.

Numerous examples speak of one of the most important properties of modern spiritual choral concerts - optional belonging to a genre. choral singing Unaccompanied. Their performing composition is extremely diverse, flexible and reflects the inherent tendency of modern music to mix genres - “mixes”. “These can be compositions a cappella and accompanied by various instruments, multi-part and gravitating* towards a one-part composition, possessing. musical and dramatic unity and close to the choral suite; having a verbal singing basis and vocalizations."

The division of the spiritual concert into two independent, in many ways completely opposite types (temple and extra-temple), makes it possible to consider them independently.

In relation to concert works, the temple concert is very traditional in terms of the choice of texts, stylistic restrictions characteristic of the modern era, the composition of performers, and emotional and figurative content. At the same time, the structural organization of choir concerts is quite stable. The fundamental difference between temple singing and concert singing lies in the deep and complete impact of the texts of Holy Scripture on those praying, in the absence of bright theatrical effects or exaggerated emotional beginnings. On the contrary, simplicity, restraint, and prayerfulness are recognized as necessary in church singing, which contribute to detachment from worldly vanity.

Since the substantive component of a work always reflects its historical and cultural context, the mentality of the composer of the second half of the 20th century could not but influence the nature of the use of stylistic clichés. Therefore, let us pay attention to the fact that the framework of the stylistic canon of a choral concert is unstable and constantly subject to fluctuation; but with a steady tendency to expand, and to a much greater extent, compared, for example, with canonical genres.

The prerequisite for updating the musical language in the genre of the spiritual choral concert is deep, fundamental changes in the content of musical works, including, first of all, their literary basis. Innovation is associated with the discovery of new things in music. poetic worlds, with the introduction into musical use of texts that had not previously been embodied by composers in their works. The literary and poetic content of the concerts is almost completely reworked, which, in turn, leads to a change in the form and structure of the cycle.

Spiritual concerts at the turn of the 21st century do not have a single type of dramaturgy and gravitate towards two main directions: 1) compositions containing the plot-event plot of biblical history and 2) non-event compositions, reflecting internal spiritual processes: prayer, repentance, spiritual and moral transformation, experience states of all-encompassing Christian love, acquisition of faith, etc. In non-choir concerts there is no single constructive model of the genre. Thus, a concert can be called a one-part or cyclic composition, dividing into parts or having a contrasting nature.

Gradual changes in the sphere of content and musical language, which took place at previous stages within the framework of old forms and seemed to be bursting them from within, finally led to a qualitative leap, expressed in a series of genre modulations and shifts. The question of the synthesis of genres, genre elements and features is just as important as the question of the stability of genres. It shows how musical culture moves, and how social development and changes in reality influence musical culture, transform musical genres and their semantics. Genre synthesis in music has many forms. For a spiritual concert, the definition of genre mutation is more suitable, which means not the use of stable genre characteristics, but a qualitative transformation of the genres themselves with their characteristics. By the end of the 20th century, genre activity intensified. New hybrids arise, the most incompatible phenomena are crossed, such as concert-action, symphony-concert, concert liturgy, etc.

Thus, the return of the spiritual choral concert to life after a long period of oblivion turned out, however, not only as a revival of the old tradition, but also as the emergence of a new one, reflecting the features of the modern stage of development of Russian music. This was accompanied by a radical renewal of the figurative structure, ideological, aesthetic and compositional restructuring of the genre, enrichment with fresh stylistic layers and ideas.

Despite the serious transformation of the spiritual concert, we will highlight a number of features that make up the specifics of the concert genre, which make it possible to determine the relationship of a particular composition to a given genre structure.

One of these criteria can be, first of all, the presence or absence of concerto in a work as an obligatory and most general, generic feature of concert genres of all eras. The features of this genre were determined by musically immanent patterns associated with artistic activity. Concerting, which determines concertity as the dominant quality of the corresponding genres of any era or style, is thus a constant, historically stable feature of these genres, constitutes their core, deep essence and becomes in the process of historical evolution the main genre criterion (“memory of the genre”). .

In previous periods, concertizing was an important but subordinate factor in the functioning of the genre, arising from artistic goals and combined with its purely applied role. There is no doubt that the gradual transformation over the centuries of various characteristics of concert music (literary basis, figurative content, style, thematism, principles of development, form, cycle structure) has modified both the genre appearance of the concert as a whole and the essence of the concert. Y. Paisov notes that the modern type of concert performance “is based primarily on a contrasting figurative and thematic rather than a timbre-textural comparison of adjacent sections and parts of the cycle, coupled with the task of their ideological and semantic unification within the framework of a common concept. What comes to the fore is the principle of end-to-end development of the idea, individually implemented depending on the specific plan, number of parts and type of images.”

However, the analysis of spiritual concerts carried out in this study confirms that concertation manifests itself as a special type of musical presentation, based on the dialogic development of the dominant and the oppositional ideas generated by it, on the dialogic contrast of expression of emotions and states, on the opposition-“struggle” of performing (solo, ensemble, choral) possibilities, on the dramaturgy of contrasts of pitch, texture, timbro-acoustic, etc.). Thus, “concert dialogue” (G. Demeshko) is embedded in the “genetic code” of the genre, and its dual nature is clearly manifested both in words and in music.

Another important feature of a spiritual concert is the figurative and semantic side of the genre, associated with the textual basis. Note that the stylistic dynamics of the concert for a long time did not directly depend on those poetic features that classify the genre on the basis of literary models (psalms, sacraments, troparia, stichera, etc.). According to the observations of scientists, “developed concerto-like forms” contain traditional textual forms used in church services.

A noticeable expansion of the main topics and literary sources occurs only at the end of the 20th century in modern composers’ work and, despite this, the main criterion determining belonging to the genre being studied remains the text of spiritual content, even if it is presented in the author’s interpretation. The spiritual constant of poetic form remains unchanged.

In modern composers' creativity, the problem of interpreting genre “naming” inevitably arises: Do the concerts of modern authors who call their works a choral concert correspond to their genre designation? It is today, as a rule, that the problem of a genre form arises - a form based on a seemingly well-known g genre, but interpreted in the spirit of the individual author’s vision.

The dissertation research examined works with author's designations - spiritual; concert. However, in connection with specific forms of genre interactions: c. this or that work, it was revealed that the works;, sometimes called choral concertos (or with concert features in the features of the musical language), were written in other genre forms, such as, for example, a chamber cantata (“Poems of Repentance” by A. Schnittke, “Hants of the Mother of God” by A. Mikit). Likewise, it is difficult to classify works with a significant degree of influence from folklore, musical and dramatic genres, both individually and in their synthesis, into the sphere of this genre (“Old Russian Sufferings” by G. Dmitriev, “Repentance” by V. Kalistratov). There are a number of works that do not have the designation concert, but have a special genre concept, the greatest correspondence to the genre prototype or the genre idea of ​​​​concerting (“8 spiritual chants” by N. Karetnikov, “Miracle-working faces”, “Prayers” by Yu. Falik, “The Ineffable Miracle” by G. .Sviridova and others).

At the present stage, there is a process of “crystallization” of the genre, a search for genre specificity, and a movement towards its concept. As a result of this evolution, two main types of genre interactions are distinguished: with a predominance of characteristic features of other genres; with the predominance of the structure of the genre of the spiritual choral concert, in which the figurative-semantic, compositional-dramatic, textural-virtuoso side of the genre can be of fundamental importance. As a result, the genre of spiritual concert allows for an increasing number of genre components and the variability of their combinations. Repetitions are avoided - even taking a well-established and well-known scheme as a basis, the composer gives a new version of its reading.

The prospects of the concert choral genre of Russian music among other choral genres are increasing due to its strongly national character, which has retained historical viability since the 18th century only on Russian-Ukrainian soil. The restoration of this line of continuity in the development of national choral art also means expansion, deepening of the soil, strengthening of ties with the national tradition. As the centuries-old history of Russian choral music shows, the concert is a paramount, leading genre for it in terms of the significance of the artistic concepts it contains.

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