Sacred music in the work of composers of the XIX - XX centuries. Regional competition of creative works of students "eternal word" Essay on music "Sacred music in the work of Russian composers D

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Federal Agency for Culture and Cinematography

Kemerovo State University culture and arts

Scientific Library

Spiritual music in creativity

Russian composers

Bibliographic list

Kemerovo

Editorial board: Kashina V.P. Computer design: Sergeev A.V. Responsible for the release: Gavrilova V.A. Spiritual music in the work of Russian composers: a bibliographic list / Comp. V.P. Kashin. - Kemerovo: NB KemGUKI. – 19 p.

Introduction …………………………………………………………………….. 4From the compilers ……………………………………………………… ……... 5General part ………………………………………………………………….. 7Personnel ………………………………………… ……………………… eight

Introduction

Spiritual music is the progenitor of all Russian musical creativity. At all times, it was the sphere of application of the creative forces of outstanding Russian composers. The motives for which they turned to spiritual genres were different - from internal religious attitudes to aesthetic preferences. The music of the Russian Orthodox Church is the source of classical music up to the present day. It finds its natural refraction in the work of composers working in the genres of spiritual and musical compositions. But due to its deep soil, this musical plan, often perceived as folklore, is included by composers in works of secular musical genres. Russian composers brought original, unique Russian methods of musical writing to world culture. At the basis of their artistic method ancient ecclesiastical genres enriched with the intonations of Russian folklore and the achievements of professional composer creativity were laid down. These traditions are continued by modern Russian composers. The purpose of the bibliographic list "Sacred Music in the Works of Russian Composers" is to facilitate the search for sources of information about the life and work of composers who created in the genre of sacred music.

From compilers

The presented bibliographic list is devoted to works written both in the genre of sacred music and other genres written on spiritual plots. The bibliographic list "Sacred Music in the Works of Russian Composers" consists of two parts. The general part includes works characterizing specific forms and genres of church music. The second part is dedicated to the personalities of composers (both famous and undeservedly forgotten) who worked in the genre of sacred music. Within the sections and subsections, the material is arranged in alphabetical order. Bibliographic characteristics of documents are carried out in accordance with GOST 7.1-2003 “Bibliographic record. Bibliographic description. General requirements and rules for drafting. Abbreviations of words generally correspond to GOST 7.12-93 “Bibliographic record. Abbreviation of words in Russian. General requirements and rules” Works related to various parts are duplicated by indicating their serial number at the end of the corresponding part of the list. The bibliographic list is compiled on the material of the Music Department of the Scientific Library of the KemGUKI, and includes mainly articles from the magazines “Music Academy”, “Meeting” , "Early Music". The personalities of composers, whose work is poorly covered in periodicals, are represented by articles from fundamental research on the history of Russian music. The publication is intended for students, teachers of the Faculty of Musical Art and all those who are interested in the history of Russian sacred music. The bibliographic list will assist students in their independent work in training courses"History of Russian Music", "History of Russian Music of the 20th Century", "History of Russian Choral Music", "History of Russian Choral Music of the 20th Century" and in specialty classes.

A COMMON PART

Gulyanitskaya N. Notes on the style of modern spiritual and musical compositions [Text] / N. Gulyanitskaya // Music. academy. - 1993. - No. 4. - P. 7-13; 1994. - No. 1. - P. 18-25 Guryeva N. Polyphonic liturgy of the end of the 17th century and its authors [Text] / N. Guryeva // Ancient music. - 2000. - No. 3. - S. 8-10. Denisov N. A new sphere of creativity [Text] / N. Denisov // Music. academy. - 1998. - No. 3-4. - S. 42-45. Koshmina I.V. Russian sacred music [Text]: in 2 books / I.V. Koshmina - M .: Vlados, 2001. Levashev E. From Glinka to Rachmaninov (Sacred music of the Fatherland) [Text] / E. Levashev // Music. academy. - 1992. - No. 2. - S. 2-13. Paisov Y. Resurrection of the ideal (Chants to the saints in modern Russian music) [Text] / Y. Paisov // Music. academy. - 1993. - No. 4. - S. 152-154. Plotnikova N. Sing to our God ("Cherubic Song") [Text] / N. Plotnikova // Meeting. - 1998. - No. 3. - S. 26-27. Protopopov V. Music of the Russian Liturgy (Problems of Cyclicity) [Text] / V. Protopopov // Music. academy. - 1997. - No. 1. - S. 30-37. Protopopov V. Music of the pre-Initial Psalm in the All-Night Vigil [Text] / V. Protopopov // Music. academy. - 1999. - No. 1. - S. 1-10. Rapatskaya L.A. History of Russian music: from Ancient Russia to the "Silver Age" [Text] / L.A. Rapatskaya. – M.: Vlados, 2001. – 384 p. Russian sacred music of the XX century [Text] // History of modern domestic music: in 3 issues - M., 2001. - Issue. 3. - S. 398-452. Russian music at school [Text]: methodological essays. – M.: Miros, 1998. – 256 p. Umnova I.G. Refraction of the traditions of sacred music in the work of modern domestic composers [Text] / I.G. Umnova // Orthodoxy - Culture - Education - Kemerovo: materials of the interregional. scientific-practical. Conf.- Kemerovo: Kemerovsk. state. Academy of Culture and Arts, 2002. - S. 392-388.

Personalities

V.A. Agafonnikov (b. 1936)

Plotnikova N. Bright national style [Text] / N. Plotnikova // Meeting. - 2001. - No. 12. - From ... ..; 2002. - No. 1. - S. 19-21.

A.V. Alexandrov (1883-1946)

Plotnikova N. Hymn to the Russian soul [Text] / N. Plotnikova // Meeting. - 2003. - No. 7. - S. 24-25.

M.V. Antsev (1865-1945)

Plotnikova N. From the textbook to the liturgy [Text] / N. Plotnikova // Meeting. - 2002. - No. 7. - S. 24-25.

A.S. Arensky (1861-1906)

Music bright as a stream [Text] // Meeting. - 2002. - No. 5. - S. 17-18.

V.P. Artemov (b. 1940)

Artemov V. Acquire living value [Text] / V. Artemov // Music. academy. - 1996. - No. 1. -S. 72-74.

A.A. Arkhangelsk (1846-1924)

Plotnikova N. The Great Lord of Harmony [Text] / N. Plotnikova // Meeting. - 1999. - No. 1-2.- P.27-28. Obolensky P. Chronicle of one musical life [Text] / P. Obolensky // Music. academy. - 1994. - No. 1. - S. 95-98.

A.M. Arkhangelsky (1863-1915)

Plotnikova N. To the native shores [Text] / N. Plotnikova // Meeting. - 2002. - No. 2. - S. 19-20.

A.M. Astafiev (1873-1956)

Plotnikova N. And Regent and teacher [Text] / N. Plotnikova // Meeting. - 2001. - No. 11. - S. 25-27.

ON THE. Afanasiev (1821-1898)

Plotnikova N. Belongs to Russia [Text] / N. Plotnikova // Meeting. - 1999. - No. 4. - S. 23-24.

N.I. Bakhmetiev (1807-1891)

Plotnikova N. Landowner and musician [Text] / N. Plotnikova // Meeting. - 2001. - No. 10. - S. 23-25.

V.D. Benevsky (1864-1930)

Plotnikova N. Conductor, teacher, composer [Text] / N. Plotnikova // Meeting. - 2002. - No. 11. - S. 22-24.

M.S. Berezovsky (1745-1777)

M.S. Berezovsky [Text] // History of Russian music: in 3 issues. / ed. A. Kandinsky. - M., 1999. - Issue. 1. - S. 206-210. Rytsareva M. Composer M. S. Berezovsky [Text] / M. Rytsareva. - L .: Music, 1982. - 142 p. See also No. 10

D.S. Bortnyansky (1751-1825)

D.S. Bortnyansky [Text]// History of Russian music: in 3 issues. // ed. A. Kandinsky. - M., 1999.- Issue 1. - S. 210-225. Rytsareva M. Composer D.S. Bortnyansky [Text] / M. Rytsareva. - L .: Music, 1979. - 255 p. See also No. 10

Yu.M. Butsko (b. 1938)

Butsko Yu. To give Russia all my work, my life [Text] / Yu. Butsko // Music. life. - 1999. - No. 4. - S. 11-13. Dubinets E. Signs of the style of Yuri Butsko (Znamny chant in the twentieth century) [Text] / E. Dubinets // Music. academy. - 1993. - No. 1. - S. 49-52. Karaban M. Multidimensionality of modal space and principles of fuzzy logic [Text] / M. Karaban / / Muz. academy. - 2001. - No. 4. - S. 49-54.

A.E. Varlamov (1801-1848)

Plotnikova N. Music - you need a soul [Text] / N. Plotnikova / / Meeting. - 2003. - No. 8. - P. 25-27.

A.N. Verstovsky (1799-1862)

Plotnikova N. Mighty power of feelings [Text] / N. Plotnikova // Meeting. - 2003. - No. 12. - S. 29-30.

M.A. Vinogradov (1809-1888)

Plotnikova N. A musician has no leisure [Text] / N. Plotnikova // Meeting. - 2004. - No. 2. - S. 16-17.

P.M. Vorotnikov (1810-1876)

Plotnikova N. In the traditions of the old school [Text] / N. Plotnikova // Meeting. - 2002. - No. 9. - S. 19-21.

V.A. Gavrilin (1939-1999)

Meshcheryakova N. "John of Damascus" Taneyev and "Chimes": a dialogue at a distance of a century [Text] / N. Meshcheryakova // Music. academy. - 2000. - No. 1. - S. 190-195. Tevosyan A. Concert in three parts in memory of V. Gavrilin [Text] / A. Tevosyan // Music. academy. - 2000. - No. 1. - S. 184-190.

M.I. Glinka (1804-1857)

Kompaneisky N. The influence of Glinka's compositions on church music [Text] / N. Kompaneisky // Russian musical newspaper. - 2004. - No. 6. - P. 8. Plotnikova N. Enter the courtyard of Christ [Text] / N. Plotnikova // Meeting. - 2004. - No. 5. - S. 15-17. Plotnikova N. “Acquire the spirit of peace” [Text] / N. Plotnikova // Meeting. - 2001. - No. 4. - S. 21-23. See also No. 5

N.S. Golovanov (1891-1953)

Luzanova A. Prayer response [Text] / A. Luzanova // Meeting. - 2002. - No. 8. - S. 25-27.

A.T. Grechaninov (1864-1956)

Plotnikova N. With faith and prayer [Text] / N. Plotnikova / / Meeting. - 2001. - No. 9. - S. 22-23. Rakhmanova M.P. A.T. Grechaninov [Text] / M.P. Rakhmanova // History of Russian Music: in 10 volumes - M., 1997. - T. 10-A. - S. 170-216. See also No. 10,11

G.P. Dmitriev (b. 1942)

Georgy Dmitriev “I found my theme” [Text] / G. Dmitriev // Music. life. - 2000. - No. 10. - S. 9-11.

A.P. Esaulov (1800-1850)

Plotnikova N. In harmony with the big world [Text] / N. Plotnikova / / Meeting. - 1999. - No. 8. - S. 22-23.

MM. Ippolitov-Ivanov (1859-1935)

Plotnikova N. Melodies of Orthodox antiquity [Text] / N. Plotnikova / / Meeting. - 2003. - No. 1. - S. 21-23.

V.S. Kalinnikov (1870-1927)

Plotnikova N. Hard worker [Text] / N. Plotnikova // Meeting. - 2001. - No. 3. - S. 17-19.

V.Yu. Kalistratov (b. 1942)

Kalistratov V. Look with a note [Text] / V. Kalistratov, A. Tevosyan // Music. academy. - 1994. - No. 4. - S. 16-22.

N.N. Karetnikov (b.1930)

Selitsky A. “I wrote for the Lord and for myself” [Text] / A. Selitsky, N. Karetnikov // Music. academy. - 1996. - No. 3-4. - S. 33-34.

HELL. Kastalsky (1856-1926)

Kastalsky A. About my musical career and my thoughts about church music [Text] / A. Kastalsky // Music. life. - 1991. - No. 13-14. - S. 20-22. Zvereva S.G. HELL. Kastalsky [Text] / S.G. Zvereva / / History of Russian music: in 10 volumes. - M., 1887. - T. 10 A. - P. 274-306. See also No. 10,11

V.G. Kikta (b. 1941)

Nikolaeva E. Valery Kikta: at the turn of the century [Text] / E. Nikolaeva // Music. academy. - 2001. - No. 4. - S. 42-48. Nikolaeva E. Liturgical frescoes by Valery Kikta [Text] /E.Nikolaeva// Musical education. - 2004. - No. 1. - S. 41-44. Tevosyan A. The history of one dedication [Text] / A. Tevosyan / / Music. academy. - 1997. - No. 1. - S. 48-51.

A.I. Kiselev (b. 1948)

Manorov O. Resuming traditions [Text] / O. Manorov // Music and time. - 2003. - No. 4. - P. 12.

N.S. Klenovsky (1853-1915)

Plotnikova N. In accordance with the ancient chant [Text] / N. Plotnikova / / Meeting. - 2002. - No. 3. - S. 22-23.

M.G. Kollontai (b. 1952)

Ivanova I. Afterword to one premiere (Agnus Dei) by M. Kollontai [Text] / I. Ivanov / / Music. academy. - 2003. - No. 2. - S. 35-39. Stepanova I. M. Kollontai. Creativity - a way of knowledge or a yoke? [Text] / I. Stepanova // Music. academy. - 1995. - No. 1. - S. 20-26.

N.I. Companion (1848-1910)

Plotnikova N. Musical worker [Text] / N. Plotnikova / / Meeting. - 2000. - No. 7. - S. 22-23.

A.A. Kopylov (1854-1911)

Plotnikova N. Sincerely loved his art [Text] / N. Plotnikova / / Meeting. - 2001. - No. 8. - S. 24-25.

A.F. Lvov (1798-1870)

Plotnikova N. From the depths of the soul [Text] / N. Plotnikova // Meeting. - 2001. - No. 5. - S. 20-22. Zolotnitskaya L. A musician from the imperial family [Text] / L. Zolotnitskaya // Music. life. - 1994. - No. 11-12. - S. 37-39.

A.K. Lyadov (1855-1914)

Plotnikova N. Goodness and beauty of church melody [Text] / N. Plotnikova // Meeting. - 2003. - No. 9. - S. 21-23.

IN AND. Martynov (b. 1946)

Grachev V. About "pious minimalism" in the work of Vladimir Martynov [Text] / V. Grachev // Music. academy. - 2004. - No. 1. - S. 12-19. See also No. 1.11

M.P. Mussorgsky (1839-1881)

Golovinsky G. Mussorgsky and the ancient Russian singing tradition: the experience of practical development of the problem [Text] / G. Golovinsky, A. Konotop // Music. academy. - 1993. - No. 1. - S. 203-206. Shcherbakova P. “Life, no matter where it affects ...”: Liturgical element in the work of Mussorgsky [Text] / P. Shcherbakova // Music. academy. - 1999. - No. 2. - S. 127-131. See also No. 12

A.A. Olenin (1865-1944)

Plotnikova N. So that music enters the soul [Text] / N. Plotnikova / / Meeting. - 2000. - No. 9. - S. 25-28.

S.V. Panchenko (1867-1937)

Plotnikova N. Musician, philosopher, prophet [Text] / N. Plotnikova / / Meeting. - 2000.- No. 3. - S. 24-25.

N.M. Potulov (1810-1873)

Plotnikova N. In strict style [Text] / N. Plotnikova / / Meeting. - 2002. - No. 12. - S. 20-21.

S.V. Rachmaninoff (1873-1943)

Bobrov V. Peaks of Musical Orthodoxy [Text] /V.Bobrov// Muz. life. - 1998. - No. 12. - S. 27-29. Kandinsky A. "All-Night Vigil" by Rachmaninoff and Russian art at the turn of the century [Text] / A. Kandinsky / / Sov. music. - 1991. - No. 5. - P. 4-7; No. 7. - S. 91-97. Kandinsky A. Liturgy of St. John Chrysostom [Text] / A. Kandinsky / / Music. academy. - 1993. - No. 3. - S. 148-156. Rubtsova V. In the context of the "silver age" [Text] / V. Rubtsov // Music. academy. - 2003. - No. 3. - p. 175-178. Chernushenko V. Come, let's bow "Vespers" S.V. Rachmaninov [Text] / V. Chernushenko / / Music. life. - 1988. - No. 24. - S. 20-22. See also No. 5,10,11

ON THE. Rimsky-Korsakov (1844-1908)

Plotnikova N. The soul is submissive to sound [Text] / N. Plotnikova / / Meeting. - 1998. - No. 4. - S. 25-26.

IN AND. Rubin (b. 1924)

Rubin V. We must follow what is inherent in us by nature [Text] / V. Rubin / / Muz. academy. - 2004. - No. 4. - S. 4-8. Rubin V. “My Russia, my life, can we toil together?..” [Text] / V. Rubin, A. Tevosyan // Music. academy. - 1995. - No. 1. - S. 26-36. Tevosyan A. "Song of Ascension" [Text] / A. Tevosyan // Music. academy. - 1999. - No. 4. - S. 15-22.

A.G. Rubinstein (1829-1894)

Gruzintseva N. "Christ" - spiritual opera by Anton Rubinstein [Text] / N. Gruzintseva // Music and time. - 2001. - No. 6. - S. 22-30. Serebryakova L. Anton Rubinstein: to the mythology of fate [Text] / L. Serebryakova // Music. academy. - 2000. - No. 4. - S. 158-163.

G.I. Ryutov (1873-1938)

Plotnikova N. Heavenly melodies [Text] / N. Plotnikova // Meeting. - 2003. - No. 2. - S. 28-29.

G.V. Sviridov (1915-1998)

Innovative Features

Teaching aid for full-time students studying in the specialty 0

Teaching aid

History of choral music. Tasks for self-preparation of students for practical classes, topics and questions for seminars: textbook-method. manual for students of the specialty 070105 Conducting (by type of performing groups: conducting

Ryazantseva Olga Nikolaevna, II category. Full name, category subject music grades 2-8 subject, class, etc. 2011 explanatory note

Explanatory note

The program for the subject "Music" was compiled on the basis of the program of D.B.Kabalevsky recommended by the Ministry of Education of the Russian Federation of the state educational standard of basic general education.

At the turn of the XIX - XX centuries. in all spheres of the spiritual life of society, the desire to search for national roots intensified. Russian secular music, having experienced the climax of national-original expression in the brilliant work of M. P. Mussorgsky, increasingly entered the mainstream of stylistic-academic art, for example, in the work of composers of the Belyaev circle. The idea of a new wave of "Russification" of music matured in the bowels of not secular, but religious and ecclesiastical art, which had long needed a radical update.

By the beginning of the century, a group of composers formed who formed the school of the New Direction. In Moscow, in the Synodal School of Singing, Kastalsky, Grechaninov, Chesnokov, Tolstyakov, Shvedov rallied around Smolensky. In St. Petersburg, this direction is represented by the names of Panchenko, Kompaneisky, Lisitsyn, Arkhangelsky. The main activity of the composers unfolded in the development of Znamenny chant. All of them were powerfully influenced by the views of Smolensky, who became the true ideologist of the New Direction in modern Russian sacred music and to whom Rachmaninoff dedicated his ingenious Vespers.

Smolensky, thanks to his work with primary sources and such a deep penetration into the layers of ancient Russian znamenny singing, observing the structural features, melodics, rhythms of ancient chants, came to the reasonable conclusion that the Western European basis is not suitable for framing these tunes, that the major-minor system comes into conflict with the whole system of these tunes.

Smolensky's main principle is the rejection of European forms of harmony and counterpoint. He not only declared the enormous significance and artistic value of Znamenny chant, but also proposed, through deep penetration into its original features, to create new Russian harmony and counterpoint for processing ancient everyday melodies. Smolensky considered the previous arrangements of church melodies to be “the wandering of Russian singing thought along foreign paths”

With the dawn of classical Russian music, the cult musical art in Russia has faded into the background. Composers who completely focused on sacred music showed a limited artistic horizon, often a handicraft approach to creative tasks. The dependence on church authorities, on the established “rules” for composing spiritual chants, had a negative effect. The greatest classical masters only sporadically and not all (Glinka, Balakirev, Rimsky-Korsakov) created "arrangements" (harmonizations) of everyday tunes - usually on duty, working in the Court Singing Chapel. What stood out was mainly the work of Tchaikovsky, who set as his goal to overcome the cliches of spiritual choral writing and created in the second half of the century a major artistic merit work - "The Liturgy of John Chrysostom" and a much more modest score of "All-Night Vigil". The composer deliberately did not go beyond the boundaries of the so-called "strict style", only occasionally deviating from it. He, which is significant, did not seek to rely on the style ancient Russian art did not use the language folk song(the latter is felt in the spiritual compositions of Rimsky-Korsakov).

At the same time, an orientation towards this style can be found in the genres of secular music - Mussorgsky's operatic and instrumental compositions ("Boris Godunov" and "Khovanshchina", the finale of "Pictures at an Exhibition"), Rimsky-Korsakov ("Pskovityanka", "Sadko" , "Saltan" and "Kitezh", musical picture « Holy holiday"). Tchaikovsky (backstage choir in The Queen of Spades), Taneyev (cantata John of Damascus) and Arensky (Second Quartet) also have examples of turning to everyday themes.

In the 1890s, choral cult music again enters a period of growth and reaches significant heights with Kastalsky, Lyadov, Chesnokov, and especially with Rachmaninov. The activities of these masters (with the exception of Lyadov), together with the performing arts of outstanding choirs, conductors, and music scientists, concentrated in Moscow, made up the so-called “Moscow school” of choral sacred music of the late 19th and early 20th centuries. Representatives of this artistic direction sought to renew the choral genre with the traditions of the past by deepening and strengthening the folklore beginning in this area. Rachmaninov's "All-Night Vigil" was the largest here.

Choral works a cappella, belonging to the field of cult art, do not occupy a prominent place in the work of Russian classical composers. Rachmaninov's sacred music was also considered from this angle of view until relatively recently. Meanwhile, this part of the composer's heritage is connected with the historically deep layers of Russian musical culture. According to Rachmaninoff, ancient Russian singing art, together with folklore, was the most important source and support of Russian musical culture as a whole, the focus of the historical memory of the people, their artistic sense and aesthetic consciousness. Hence their wide national significance.

Rachmaninov's penchant for sacred music was strengthened by the influence of major authorities - S. V. Smolensky (director of the Synodal School), who taught a course in the history of Russian church music at the Moscow Conservatory and the famous composer and conductor of the Synodal Choir A. D. Kastalsky, the author of outstanding works on folk songwriting . Undoubtedly, the choral cult works of this master themselves had a decisive influence on Rachmaninov. “From the art of Kastalsky,” emphasized B. V. Asafiev, “great cyclic choral compositions by Rachmaninov (“Liturgy” and, especially, “Vespers”) grew up ... a melodious polyphonic style was born in which the richest melodic heritage of the past gave new magnificent seedlings"

S. V. Rachmaninov also worked in the field of spiritual and choral music of the Orthodox tradition a cappella. The composer, turning to the revival of national musical traditions, was looking for the original and truly folk in the region. Orthodox singing. Attempts to get as close as possible to the spirit of the people contributed to the birth in his work of a new artistic language, new means and forms of expression, "colored with the unique Rachmaninov style." He interpreted spiritual compositions in the spirit of romanticism. The religious principle appeared in an aestheticized concert form. Religious, ancient, archaic appears in him in the form of a national, folk.

It is known that the idea of this work arose already in the early 1900s. No less important were the impressions of childhood - from northern Russian nature, from ancient Novgorod with its cathedrals, icons and frescoes, bell ringing, with church singing. Yes, and the family environment of childhood Novgorod years, where the original traditions of Russian life were preserved, their high spirituality - nourished the artistic nature of the composer, his self-consciousness of a Russian person.

Page 3

INTRODUCTION

Since ancient times, culture testifies to the spiritual state and consciousness of man and society. Instability of life, destruction moral guidelines, social and environmental cataclysms create a crisis of humanity. In this regard, the problem of spirituality, the ways of its formation and development, are of particular relevance. Spirituality is the breath of life, it is the necessary and subtle energy of life.

Spiritual music, regardless of religious denomination, is one of the most important components of global culture. In addition, it was in the depths of cult music that the foundations of professional musical art were formed, the formation and development of the technology of composer creativity was carried out, since until the 17th century the Christian church remained the main center of musical professionalism. If the topic of sacred music is addressed constantly and consistently, then it organically enters the life-active sphere of a person.

Spiritual music conceals enormous possibilities of influencing a person, and this influence can be controlled, which was the case in all past centuries, when a person treated music as a miracle given to communicate with the higher spiritual world. And he could communicate with this miracle all the time. Spiritual music is the best means to remove bad thoughts and criminal desires. It brings the soul into harmony and tunes it to high motives, disposes to mutual love and unanimity.

Another, no less important impetus to the revival of the traditions of sacred music was, in our opinion, the need to acquire some kind of spiritual support that allows a person to withstand the ever-increasing drama of modern life, to keep its highest values from absorption by momentary, often base needs.

The result of all this was the emergence of a large number of works created in various genres, where composers tried to embody their understanding of this type of artistic culture, using new musical and expressive means, a number of composers turned in their creative and philosophical searches to the genres of sacred music.

Sacred music continues to be one of the most important sources of professional music formation. This, in turn, led to the inexhaustible interest of composers in this area. The relevance of the stated position is confirmed at the present time, which is manifested in the work of a number of contemporary composers who create works in the genres of sacred music.

All that has been said and determinedthe relevance of this work.

Objective : to show the influence of Russian sacred music on the work of Russian composers XIX century.

We have identified as tasks:

1. Identification of the main historical stages in the development of sacred music genres;

2. The study of the artistic and stylistic features of sacred music in the work of famous composers;

object our work is sacred music in the work of Russian composers XIX century. Assubject of studyworks of a number of composers XIX century in the genres of sacred music.

CHAPTER 1 ORIGIN AND DEVELOPMENT OF RUSSIAN SPIRITUAL MUSIC

1.1 The history of the emergence and development of Russian spiritual singing

Russian sacred music is a national culture in the history of Russia. This is an amazing source of wisdom and beauty, combining the enduring ideas of church postulates, highly artistic texts selected by centuries of criticism, and the musical perfection of classical compositions by Russian masters, famous and nameless. The essence of sacred music from the very beginning was rationality, blessed meaningfulness and edification. Its fruit was inspired liturgical poetry of hymns and psalms, songs of praise and thanksgiving, the art of singing associated with spiritual purity. “The history of liturgical singing begins in heaven, for for the first time a song of praise to God was sung by the incorporeal forces of heaven, forming their invisible and spiritual world, created by the Lord before the visible and existent world.” Heavenly singing, like pre-worldly and eternal singing, has no history in the full sense of the word. Earthly spiritual singing has its own history, which is usually divided into several periods.

On the early stage Church music of Ancient Russia was an offshoot of the Byzantine musical tradition. With the annexation of Ukraine, the so-called "Kyiv" and "Bulgarian" chants appear in Russian church music. After the reform of Patriarch Nikon, in connection with the correction of singing books according to Greek manuscripts, a “Greek” chant appears.

As you know, Russian musical culture is inseparable from the centuries-old singing tradition of the Orthodox Church. Her chants with characteristic melody, asymmetrical rhythms of ancient melodies, richest sub-voice polyphony, with a unique originality of harmony are our national wealth and heritage. Church singing has always been a favorite art of Russia, therefore, the artistic genius of the Russian people was fully expressed in its melodies. And the very concept of "Music" for several centuries has been strongly associated with the performance church prayers. The era of Russian baroque brought a fundamentally new attitude to sacred music as an object of aesthetic value. Deacon of the Moscow Stretensky Cathedral in the Kremlin Ioanniky Korenev in his treatise "On the singing of the Divine" ( XVII century) gives the following rationale for the nature of music as an art: “Musikia (i.e. music) creates a beautiful church, adorns divine words with good consent, rejoices the heart, fills the soul with joy in the singing of the saints. From the same I call every singing music, but more than angelic, which is inexpressible and more, then heavenly music is called.

The first period of the formation of a professional singing tradition in Russia was associated with the adoption of Christianity (988) and with the introduction into the church. Service of monophonic male singing. Znamenny chant is the oldest original chant of the Russian Orthodox Church. "Znamny chant a set of chants of world significance, equal to great epic tales ...". Unfortunately, the decoding and translation of the banners into the modern five-line notation is far from perfect, since they, the banners, reflected not only pitch and rhythmic relationships. But also the nature of the sound, mood, image and even a certain state of consciousness of the singers.

“The melody of the Znamenny chant was distinguished not only by its depth and spirituality, but also drew certain images and pictures. This is revealed especially in the dogmatists, the text of which was compiled by the outstanding Christian songwriter St. John of Damascus. Second half XVII century was an era of rapid rapid development of polyphony in Russian professional choral music. Under the influence of South Russian culture, partesnoe polyphony (singing in parts) began to spread in Russia, which supplanted znamenny and three-line singing. “The new stylistic direction (Russian baroque) corresponded to new genres of church music: partesse arrangements of znamenny chant in the choral texture and concert literature of the late 17th and early 18th centuries show a high level of professional skill and, in particular, a good command of polyphonic technique. One of the outstanding masters of the partess concert style is Vasily Polikarpovich Titov, his famous concert "Rejoice in God, our helper" [3, 153].

In the same period, a new type of choral music, kant, was spreading in Russia. The original cants were created on religious texts and existed in the circles of the clergy. AT XVIII century, their subject matter and genre focus expands; historical, pastoral, satirical, humorous and other cants appear, which remained popular until the beginning of XIX century, all cants of a three-voice presentation with a parallel movement of the two upper voices and the lower voices creating a harmonic support.

In XVII century, a genre of spiritual verse close to Kant is spreading in Russia. This is also a non-ritual song, but based only on the figurative and poetic ideas of Christianity. These chants are more lyrical, introspective. Infused with prayer. Their melody is usually close to Znamenny chant due to the soft rhythm and breadth and length of the melody. One of the best can be called the spiritual verse "On the descent of the Holy Spirit", the bright, expressive text of which and the music that is in full accordance with it. Create a soulful musical image.

Russian classical composers XIX-XX centuries, very often in their work they turn to Znamenny chant. A well-known similarity with the Znamenny chant can be found in A.P. Borodin (“God grant you victory over your enemies”, “Be of good cheer, princess” in the opera “Prince Igor”), N.A. Rimsky-Korsakov (prayer from the 1st scene of the 3rd act in the opera The Legend of the Invisible City of Kityazh), M.P. Mussorgsky (choirs of schismatics from the Znamenny chant are widely reproduced. He quoted similar melodies and created his own themes in their spirit. At the beginning XX century S.V. Rachmaninoff creates wonderful choral adaptations of ancient cult chants, combined into choral cycles “Liturgy of St. John Chrysostom" and "All-Night Vigil". In the choral cycles, the composer managed to find true and deeply folk-based techniques, arrangements of ancient Russian melodies.

“Thus, Russian spiritual singing, having begun its development from monophonic and having passed the period of influence of Western polyphony, at the present stage is returning to its origins. But already at a new level, rethinking the spiritual power of ancient chants and enriching them musically, using the accumulated centuries-old experience in creating and designing church hymns considering them as a musical and artistic phenomenon of national culture.

Prince V.F. Odoevsky wrote back in the middle of the last century that Russian sacred music is an art “original, unlike any other, having its own special laws, its distinctive character and high both historical and artistic value.

1.2 Formation of the choral concert genre in Russian sacred music

From the end of the 18th to the beginning of the 19th centuries, a new form of creativity of Russian composers begins to penetrate into the sphere of sacred music - this is a spiritual concert.Genre choral concert began to develop in Russian sacred music as early as the beginning of the 18th century in connection with the introduction of partes singing into singing practice, brought to Moscow by Kyiv singers in the middle XVII century . “Partes singing, in contrast to the monophony prevailing at that time, involved singing in parts (treble, alto, tenor and bass). The new style was quickly picked up and mastered by many Russian and Ukrainian composers, among the best of them - Nikolai Diletsky, Nikolai Bavykin and Vasily Titov. They own a large number of partes music, including the so-called partes concertos, which are distinguished by a huge number of voices (reaching 24 and even 48), by comparing tutti (general singing) and groups of voices, and by all kinds of imitation of short melodies. The partes concert has always been an exclusively a cappella vocal genre. It is characterized by the coloristic richness of the choral sound. Composers of the Baroque era learned to use the a cappella choir to achieve great fullness and brightness of colors. The mature period of the development of a new polyphonic style is associated with concerts and the “Services of God” (unchangeable chants of the liturgy) by N. Diletsky, who proposed a systematic set of rules for creating a polyphonic composition of the partes style in the treatise “The Idea of Musician Grammar” N. Diletsky in his treatise outlined the following rules for writing concert: “The verse is lovingly taken to creation, imashi reason and decompose - where there will be concerts, that is, voice after voice of struggle, and where everything is together. In the image, let it be, raise this speech to creation - “The Only Begotten Son”, I decompose it like this: Let there be a concert, the Only Begotten Son. Volunteer - all together, incarnate - a concert, and Ever-Virgin Mary - everything. Crucified - a concert, death death - everything, One - a concert, Glorified to the Father all, one according to others or all together, which will be at your will. But I am explaining the image in your teaching with an osmotic voice, cue ti will be in three-vowel and others. This is in concerts, you see it. ” Diletsky understands the term "concert" as "struggle", the competition of the voices of the ensemble and as the opposition of episodes performed by a selected group of soloists ("concert") and the whole tutti choir. Therefore, the number of parts in partes concerts is not regulated. There are concerts of a single, continuous structure, but there are also those in which the number of parts and their size changes very often up to 12 and even up to 22 times, as, for example, in the concert “What am I, the sweetness of life”. Partes concertos, based on a combination of contrasting episodes, are, according to V. V. Protopopov, one of the types of contrast-composite forms. The most stable form of partes concertos with an odd number of contrasting sections: 3, 5, 7, three-movement prevails among them. In concertos of the three-part form, there is usually a reprise, but here it is manifested in general terms: in the ratios of the extreme sections according to tonal and metro-rhythmic features, length and texture. In partes concertos, the theme is not yet sufficiently formalized, and therefore there is no reprise in its true understanding. At the same time, they feel a deep integrity based on the intonational commonality of the primary order. Reprise is a rather rare phenomenon in this era, music in reprise is repeated only in those cases when the text is repeated, that is, the musical-thematic reprise usually corresponds to the text. The form of the cycle "Services of God", permeated with tonal, intonational and harmonic unity, has become widespread. She became a harbinger of future liturgical cycles: the vigil and the liturgy.

The choral concert is a polyfunctional genre: it is the climax of the liturgy, the decoration of the state ceremony, and the genre of secular music-making. The text of the concerto is a free combination of stanzas from David's psalms. For the choral concert, the traditional texts of the psalms served as a common emotional and figurative basis. The initial parts were created under the impression of the text. The first phrases of the concertos are the brightest in terms of intonational expressiveness. From the end of the 18th century, the choral concert began to be influenced by the achievements of Western European music. A new trend has emerged in the work of Maxim Berezovsky and, especially, Dmitry Bortnyansky, who improved their composing skills in Italy. The emphasis in the composition of concertos has shifted towards greater harmony of form, the use of polyphonic techniques, and increased contrast between sections. The choral concerto is a baroque genre, suggesting pathos, a contrasting structure with a predominance of richly developed polyphony. “In the work of Bortnyansky, this ideal is replaced by a style that combines the strict beauty of classicism with the intonational softness of national lyrics.” Historically, the concerts have become the most famous part of his choral legacy. Large-scale and spectacular, they were the first to enter the concert-performing practice, eclipsing the more modest, one-part liturgical choirs. Multipart concertos are characterized by the contrast of parts in tempo, meter (even - odd), texture (chord - polyphonic), tonal ratio (usual dominant or median). All these features, combined with the intonation structure typical of homophonic-harmonic thinking, suggest the similarity of Bortnyansky's concert cycle with the sonata-symphony. “Becoming in 1796 the manager of the choir of the Court Singing Chapel (since 1763 the name of the choir of the sovereign’s chorus clerks transferred to St. Petersburg in 1703), and in 1801 its director, Bortnyansky devoted himself completely to working with choristers and creating a choral music; his activity led to the flourishing of the choir. Along with Bortnyansky at the end. XVIII beginning of the XIX century, great masters worked in the field of church music - S.A. Degtyarev (1766-1813), L.S. Gurilev (1770-1844), A.L. Wedel (1772-1808); with a bright Ukrainian coloring of music, sustained in the norms of classicism, S.I. Davydov (1777-1825). Despite the decree of the Holy Synod of 1797, which prohibited the performance of choral concertos at the liturgy, Bortnyansky and his younger contemporaries continued to work in this genre. In church compositions of that time, the influence of opera, instrumental and romance music increased, and a desire for integrity and diversity of compositional solutions manifested itself. The next stage in the history of the spiritual choral concert genre was inextricably linked with the flourishing of the brilliant art of the Synodal Choir and the emergence at the turn of the 19th and 20th centuries of a new Russian school of church music composers. In the works of A. Arkhangelsky, A. Grechaninov, M. Ippolitov-Ivanov, Viktor Kalinnikov, A. Kastalsky, A. Nikolsky, Yu. using all known means of musical language in compositions. Russian spiritual choral concert "a deeply rooted phenomenon that arose not spontaneously, but due to the interaction of many processes of religious and secular life" . Considering the evolution of the genre in a historical perspective, it can be noted that the spiritual concerto was “open” to new trends in art, especially at turning points in the history of Russia, so it is always modern and in demand in society. “As the centuries-old history of Russian choral music shows, the concert is just as paramount, the leading genre for it (in terms of the importance of the contained artistic concepts), as for instrumental music - a symphony, for the theater opera, etc.” [ 2 , 265]. The active creative search of composers and the intensive evolution of the spiritual concert in the last two decades testify to the fact that the artistic and liturgical potential of the genre has not yet been exhausted. Recall that the spiritual concerto passed in its historical evolution through several successive stylistic formations from the baroque partes (late XVII - early XVIII century), through the classical concert (late XVIII early XIX century), late Romantic (late XIX - early XX) and, finally, to the modern (the end of the XX the beginning of the XXI century). The partes concerto appears as the beginning of the evolution of the genre, the classical one - as a well-formed genre archetype, with clearly developed genre features, the late romantic one - 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 non-temple, modern - as a complete change in the genre structures, the formation of a new style and genre concept. There is a peculiar regularity in the evolution of the genre. If you pay attention to the historical periodization, it is very clearly seen that the spiritual concert developed discretely, that is, in a kind of bright “flashes”. Then, approximately in 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 strength and in a completely new quality. Modern researchers of the spiritual concert are trying to understand and explain the true reasons for such a "nonlinearity", discontinuity in the development of the genre. Among the main reasons, the following can be distinguished: the partes concerto did not begin to develop due to the fact that church authorities began to impede innovations, that is, the penetration of elements of secular culture into the spiritual one, and “the intonation structure of the concert lagged behind the pace of evolution of the intonational 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 the period of "gloomy timelessness". And, finally, the Soviet era the time of the existence of an atheistic culture that rejected any attempts to create religious music, it can be definitely noted that the evolution of the genre took place in close interaction with the historical, political, and also ideological situation in Russia. The impetus for intensive development has always been the tense 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 in each era is reborn in a completely new quality, but at the same time retains its traditions and continuity in the development of Russian choral art.

CHAPTER 2 WORKS OF SPIRITUAL MUSIC IN THE WORKS OF RUSSIAN COMPOSERS XIX CENTURY

2.1 Sacred music of N. A. Rimsky Korsakov

The spiritual and musical compositions of N. A. Rimsky-Korsakov are a remarkable contribution of the great composer to Orthodox church singing. The time of their creation the 80s of the 19th century marked the beginning of a new stage in the history of Russian sacred music. During this period, P. I. Tchaikovsky and S. I. Taneev also turned to composing church hymns. Russian classical composers managed to introduce a national element into church singing and raise its artistic level. Nikolai Andreevich Rimsky-Korsakov (1844-1908) grew up in a deeply religious family. The composer recalled that his father Andrei Petrovich “read daily the Gospel and various books of spiritual and moral content, from which he constantly made numerous extracts.

His religiosity was extremely pure, without the slightest hint of hypocrisy. He went to church (to a large monastery) only on holidays; but in the evenings and mornings at home he prayed for a long time. He was an extremely meek and truthful man." [ 14, 14 ] . For mother Sofia Vasilievna, “religion has always been a need of the soul. The religious idea had for her an artistic embodiment in the sacraments and rites of the Orthodox Church. Echoes of spiritual and musical impressions of childhood and adolescence were reflected in the works of N. A. Rimsky-Korsakov.

Let's just give some examples. The finale of one of the early compositions - a string quartet on Russian themes (1879) - was called "In the Monastery". In it, Rimsky-Korsakov used “a church theme, usually sung at prayer services (“Reverend Father, name, pray to God for us”), in an imitation style.” Subsequently, this theme was used in a transformed form in Sadko, in the scene of the appearance of the Elder (Nikolai Ugodnik), interrupting the feast at the Sea Tsar. According to V.V. Yastrebtsev, Rimsky-Korsakov derived the theme of John the Terrible from The Pskovite Woman “from the singing of the monks in the Tikhvin Bogoroditsky Monastery and in general from the znamenny chant”. The orchestral prelude "Above the Grave" in memory of M. P. Belyaev (1904) was written on "requiem themes from Everyday life with imitation of the monastic death knell that I remembered in my childhood in Tikhvin". The Sunday overture on themes from Everyday life "Bright Holiday" is based on Easter melodies. Rimsky-Korsakov spoke in detail about his idea in the Chronicle of My Musical Life.

The alternation of the themes “Let God rise again” and “The angel crying out” in the introduction seemed to the composer “like a prophecy of the ancient Isaiah about the resurrection of Christ. The gloomy colors of the Andante lugubre seemed to depict a holy tomb that shone with an indescribable light at the moment of the Resurrection, at the transition to the Allegro of the overture. The beginning of the Allegro “Let those who hate Him flee from His presence” led to the festive mood of the Orthodox church service at Christ's Matins; the solemn Archangel's trumpet voice was replaced by a sound reproduction of a joyful, almost dance-like bell ringing, which alternated either with a quick deacon's reading, or with a conditional chant of a priest reading the gospel.

The everyday theme "Christ is Risen", representing, as it were, a side part of the overture, appeared among the trumpet voice and the bell ringing ... ". N. F. Findeizen considered The Bright Holiday to be a “preliminary (albeit brilliant) etude for the opera The Tale of the Invisible City of Kitezh and the Maiden Fevronia, where church and folk chants are surprisingly harmoniously intertwined, the intonations of ancient chants, especially the znamenny chants, merge with spiritual melodies. poems, folk songs. With the accession to the throne of Alexander III, the leadership of the Court Singing Chapel changed, as Rimsky-Korsakov reports in the Chronicle. Count S. D. Sheremetev took the “representative and honorary” position of director, but “in reality, the matter was entrusted to the manager of the Chapel and his assistant. Sheremetev chose Balakirev as manager, and the latter ... not feeling any theoretical and pedagogical ground under him, took me as his assistant, as I had plunged into theoretical and pedagogical activity at the conservatory. In February 1883 my appointment as assistant manager took place. Court chapel".

Rimsky-Korsakov notes that “the mysterious thread of such an unexpected appointment was in the hands of T. I. Filippov, who was then the state comptroller, and the chief prosecutor Pobedonostsev. Balakirev Filippov gr. Sheremetev the connection of these people was on the basis of religiosity, Orthodoxy and the remnants of Slavophilism. N. A. Rimsky-Korsakov was familiar with the works of his predecessors. The composer met Razumovsky in May 1883 in Moscow, during his stay with the Capella at the coronation of Alexander III.

In one of the letters to his wife, he reported: “The priest Razumovsky, an expert and researcher of ancient church music, was with Balakirev and Krutikov. He is a very nice old man, and we will go to him again for various advice on church melodies; he gave me his book on ancient singing ", but he assessed both directions negatively. He called Bortnyansky's style "foreign", and the style of Potulov, Razumovsky, Odoevsky - "book-historical". Nevertheless, the composer applied the main provisions of the strict style in "Singing at the All-Night Vigil of ancient tunes."

At the first stage, it was necessary to compile a collection of monophonic tunes. Rimsky-Korsakov used singing books published by the Holy Synod, N. M. Potulov’s Guide to the Practical Study of the Ancient Liturgical Singing of the Orthodox Russian Church (1872). The composer not only immersed himself in the study of ancient chants, but also comprehended the science of church worship, read the book by K. T. Nikolsky "A Guide to the Study of the Charter of Divine Services of the Orthodox Church" (M., 1874) and exclaimed: "Charter as I now know!" . "Singing at the All-Night Vigil" in monophonic form was completed on July 5, 1883. N. A. Rimsky-Korsakov created 40 church hymns during 1883-1885. 15 of them were published during the composer's lifetime and made up the first two collections, 25 were published posthumously in the third collection edited by E. S. Azeev.To this collection we also include the two-horse concerto We praise God to Thee, since it is listed as part of the second collection in its second edition of 1893, although it was published separately (censored July 24, 1893). In the document dated February 9, 1893, transferring ownership rights to the publication of spiritual and musical works by Rimsky-Korsakov (18, 190-191) to the Chapel, as well as in the "List of works by N. A. Rimsky-Korsakov" for 1900, this concert is listed as unpublished .. Rimsky-Korsakov worked most actively and in depth on church hymns in the summer of 1883.

In letters to S. N. Kruglikov, he reports: “I don’t do anything else musical, of course: I’ve become a deacon”, “... secular music now doesn’t work for me, but spiritual music occupies me.” Probably, at this time the main part of all spiritual and spiritual musical works Rimsky-Korsakov. Subsequently, his interest in this area of \u200b\u200bcreativity falls. Perhaps this is due to the fact that Balakirev had a negative attitude towards the spiritual compositions of Rimsky-Korsakov (perhaps, with the exception of only Cherubic Song No. Lifestyle.

Rimsky-Korsakov felt this: "It all seems to me that he has such an idea: there is no, they say, and there cannot be God's grace in my writings." One of the last mentions of work on church hymns refers to January 14, 1884: “I do not write anything. "Obikhod" has long been abandoned: already boring and dry work, but with Balakirev any hunting will pass. In a letter to N. I. Kompaneisky dated May 27, 1906, Rimsky-Korsakov called himself a completely retired spiritual writer). 18 out of 40 church chants by N. A. Rimsky-Korsakov are actually compositions, and not adaptations of church chants. They make up the entire first collection (“Cherubic Hymn” No. 1 and No. 2, “I Believe”, “Grace of the World”, “We Sing to You”, “It is Worthy to Eat”, “Our Father”, “Sunday Communion”. Works from the first collection, despite the intonation similarity of the melodies, they do not represent a single cycle. But the two chants I Believe and the Grace of the World are perceived as a kind of small cycle. They have a common harmonic sequence based on the alternation of diatonic steps in D minor and A minor. In "I Believe" this sequence repeats three times, in the Grace of the world twice, ending with perfect cadences.

Thus, Rimsky-Korsakov anticipates the idea of a musical unification of the different parts of the Liturgy, which will be very important for composers of the late 19th and early 20th centuries. The source of innovative harmonic and textural ideas for Rimsky-Korsakov was both the music of Orthodox worship and Russian folk music. The composer was convinced of their musical relationship. It was Rimsky-Korsakov who first clearly identified and emphasized the closeness of the two types of folk art, creating on the basis of their synthesis his own style of polyphonic arrangements of ancient chants, not similar to the church art of his contemporaries.

2.2 Tchaikovsky and sacred music

The great Russian composers of the 19th century attended church services, and church singing often evoked a creative response and inspiration from them. M.A. tried their hand at church songwriting. Balakirev, N.A. Rimsky-Korsakov, A.K. Lyadov, M.M. Ippolitov-Ivanov and many other outstanding Russian composers. Separate hymns from the main Orthodox service Liturgy were written by D.S. Bortnyansky, M.I. Glinka, A.A. Alyabiev and others. But it was P.I. Tchaikovsky undertook the effort to create an integral, complete musical composition, covering all the chants that make up the Liturgy. Tchaikovsky was motivated by the desire to bring contemporary church singing creativity into line with the ancient traditions of Russian church singing culture. In one of his letters he wrote: “I want to try to do something for church music.

In this regard, the composer has a huge and still barely touched field of activity. “I recognize some virtues for Bortnyansky, Berezovsky and others, but to what extent their music is in little harmony with the Byzantine style of architecture and icons, with the whole structure of the Orthodox service!” . This desire resulted in two monumental works “Liturgy” and “All-Night Vigil”. Tchaikovsky wanted to create compositions that were essentially ecclesiastical in nature, which, both in their structure and in their traditional sound, would be connected with Orthodox worship. Turning to his publisher with a request to send books on the history of church music, he wrote that he "needs the whole Vespers with all the litanies and with everything that is sung."

The richness of church song poetry shocked the composer who took up the liturgical material. “In this ocean of irmos, stichera, sedals, katavasias, theotokos, trinities, troparia, kontakia, exapostilarii, similar, sedate, I am completely lost. And you absolutely do not understand where, what, how and when! . P.I. Tchaikovsky also turned directly to ancient Russian music. In the Vespers written by him, many chants are harmonizations of melodies of different chants. In one of his “Cherubic Songs”, which the composer cherished most of all, he, in his words, “tried to imitate non-note church singing”, that is, ancient singing written with a “banner”.

Much has been written about Pyotr Ilyich Tchaikovsky. Despite this, some significant moments of his biography and work remain little known. For example, the spiritual and musical creativity of the composer and his role in the history of church singing. There is no doubt that the musical works of P. I. Tchaikovsky are closely connected with the spiritual image of the composer and his faith. Confirmation of the composer's religiosity was his interest in the style, content and performance of church music. Not only to an atheist, but to a non-religious person in general, church singing would be completely alien and uninteresting. And Tchaikovsky was keenly interested in the problems of Russian choral church singing. Being a Russian composer-patriot,

Pyotr Ilyich sought to contribute to the heritage of national church music, which he himself described as "a huge and still barely touched field of activity." Tchaikovsky was, in fact, the only one of the creative giants of Russia - composers and artists - who, on his own initiative, turned to the field of spiritual art before the early 1880s. And he came to this sphere thanks to the general religiously oriented, spiritually focused nature of his personality, embodied in many personal confessions that have come down to us in his letters and diaries. The significance of the work of Pyotr Ilyich Tchaikovsky in the history of the development of Russian Orthodox church music can hardly be overestimated. He influenced the process of formation and flourishing of the "new Russian choir school" - a movement that raised unprecedented height the art of composing and performing choral works in Russia in the late 19th - early 20th century. P. I. Tchaikovsky played a role in the activities of the Synodal School. To oversee the improvement of the church singing section at the school and to direct the Synodal Choir to "prosper in the spirit of ancient Orthodox church singing," a Supervisory Board was established, the first of which included such luminaries as P. I. Tchaikovsky and Archpriest Dimitry Razumovsky. As a member of the Supervisory Board of the Moscow Synodal School of Church Singing, Tchaikovsky facilitated the appointment of his students - choral conductor V. S. Orlov and composer A. D. Kastalsky - to teaching positions in this educational institution, which, in turn, helped transform the Synodal School and his choir became the most important center for the preservation and development of church music in Russia over the next decades. Pyotr Ilyich edited the complete collection of spiritual choral works by D. S. Bortnyansky for the publishing house of P. Jurgenson.

This work was of great practical importance: it preserved for us all the works of D. S. Bortnyansky in the best edition. Tchaikovsky wrote complete, musically completed cycles for two of the most important divine services of the Orthodox Church: “The Liturgies of St. John Chrysostom" (1878) and "All-Night Vigil" (1882). In addition, he wrote nine separate spiritual choirs and set to music the Easter text "Angel Crying." Some researchers of P. I. Tchaikovsky’s work believe that his appeal to composing spiritual and musical works was accidental. Others attribute this appeal to an imperial order. Indeed, Alexander III favored Tchaikovsky and "had encouragement and desire" for the composer to write for the Church.

“But no order and no external influence could result in that harmony, in that beauty that was born in the soul of Tchaikovsky. Without a genuine religious feeling, without a religious perception, without the experience of the Vespers and the Liturgy, the composer could not have created sacred music. The appearance and, then, the presence of religious, church music in Tchaikovsky's work for more than ten years (since 1878) is no longer a search, it is a line of spiritual life personally suffered and found. Unfortunately, the spiritual and musical work of P. I. Tchaikovsky was not appreciated by his contemporaries. The reaction to his spiritual and musical works was mixed. Liturgy of St. John Chrysostom, written by him, became the first spiritual and musical cycle in the history of Russia, performed in an open secular concert, and caused a very heated discussion.

Almost twenty years passed before Tchaikovsky's "Liturgy" was allowed to be performed during a church service. The prejudice against the sacred music of P. I. Tchaikovsky persisted almost until the composer's death. “Disputes are still going on: whether this music is appropriate during worship or its place in spiritual concerts. The religious music that was born in his soul does not convey the full depth of the Vespers and the Liturgy, but this is natural, because, apparently, he did not reach the depth of the religious experience of the holy creators of divine services. The nature of his religious music is said to be more secular or not deeply spiritual enough.

Nevertheless, the contribution of P. I. Tchaikovsky to the development of sacred music was noted at the Local Council of the Russian Orthodox Church in 1917-1918. The spiritual and musical works of P. I. Tchaikovsky were performed and continue to be performed in our time. Despite the difficulty of performing the Divine Liturgy and the All-Night Vigil, some elements of these works have taken root in church life (for example, the Trisagion). And on our part, in relation to Tchaikovsky, there should be deep gratitude for everything he left to the Orthodox Church, faithful and whose devoted son he was before last day own life.

The origins of spirituality in music S.V. Rachmaninoff

Classical Russian music is unique in its spiritual fullness. It originates from ancient national tunes woven into the canvas of the Byzantine heritage brought from outside. Sacred music preceded secular music for a long time. It was an integral part of human life. And therefore, the origins of national culture are hidden in the basis of the work of Russian composers. The music of Sergei Vasilyevich Rachmaninov rightfully belongs to such phenomena. In Russia, other works by Rachmaninov connected with the revival of Russian sacred music are least known. At the turn of the 19th-20th centuries, the national movement "New Russian Renaissance" emerged in Russia, according to the definition of A. Blok.

At that time there was an interest in the society artistic heritage of the Russian Middle Ages (architecture, icons, frescoes), on this wave, many composers turn to ancient Russian music. In this vein, Rachmaninov's choral cycles "The Liturgy of John Chrysostom" (1910) and "The Vespers" (1915) are created. By the time the "liturgy" was created, Rachmaninov was the author of three piano concertos, three operas and two symphonies. But, according to the composer, he worked on a rare thing with such pleasure.

Based on the traditions of the Russian liturgy, Rachmaninoff creates a concert work, where, unlike the Vespers, he practically does not use authentic chants. He boldly combines the intonations of folk and professional art, creates an impressive image of ancient cult singing. In his work, Rachmaninov sought to reflect the spiritual life of Russia in the relationship between the past and the present. Therefore, he turned to choral works, a kind of mass action, where it was possible

convey the depth of folk psychology (his cantatas "Spring" and "Bells" can serve as an example of this).S.V. also paid much attention. Rachmaninov church music. In November 1903, the famous church composer A.D. Kastalsky (18561926), presenting S.V. Rachmaninov, the edition of his “Requiem Service” (a service with prayers for the dead), made the following inscription: “To the deeply respected Sergei Vasilyevich from A. Kastalsky as a reminder to him that there is a region in the world where patiently, but persistently waiting for Rachmaninov’s inspirations.” And in 1910, Rachmaninov himself wrote to Kastalsky: “Forgive me, for God's sake, that I dare to disturb you. I have a big request for you. The point is this: I decided to write the Liturgy. I want to ask you to resolve some perplexities regarding the text. I also really want to ask you to view it, criticize, express your opinion. I decide to disturb you, because I believe you with all my heart and I will try to follow the same road that you are walking ... ". Kastalsky in his work was mainly engaged in the harmonization of ancient melodies, reviving the ancient Russian musical heritage. Rachmaninoff approached composing church music as the most difficult creative task, feeling the need to follow certain traditions that had developed in the field of spiritual creativity. Rachmaninov also studied Tchaikovsky's Liturgy as a model. However, unlike Kastalsky, in the "Liturgy" Rachmaninoff did not directly take ancient chants as a basis. In line with a more strict church singing tradition, Rachmaninoff performed in his All-Night Vigil, written by him five years after the Liturgy. Probably, Rachmaninov could repeat the words prefaced by P.I. Tchaikovsky to the edition of his Vespers (1882): “I left some of these authentic church tunes intact, in others I allowed myself some minor deviations. Thirdly, finally, in some places he completely avoided the exact sequence of tunes, surrendering to the attraction of his own musical feeling» . The Liturgy of St. John Chrysostom and the All-Night Vigil became the pinnacle of Rachmaninov's spiritual work. The composer carried his love for church singing through his whole life. The composition of the Liturgy was his longtime dream. “I have been thinking about the Liturgy for a long time and have been striving for it for a long time. He took to her somehow by accident and immediately got carried away. And then very soon finished. I haven’t written anything for a long time ... with such pleasure, ”he said in letters to friends. In the Liturgy, Rachmaninoff uses folklore melodies, znamenny singing and imitation of bell ringing, which gives the music a truly national character. In this work, the composer gives new life to the choral genres of Russian sacred music. With his work, he opposes the lack of spirituality of modernism emerging from the West. The "All-Night Vigil", in contrast to the Liturgy filled with joy and jubilation, is lyrical, enlightened in nature.

CONCLUSION

The spiritual works of the great Russian composers were almost never performed by secular choirs during the years of persecution of Orthodox culture. A.V. Lunacharsky, being People's Commissar of Education, took the initiative to ban Soviet opera singers from singing in church. But this initiative has not received the status of an official ban. The non-publicity of the ban sometimes allowed secular performers to sing in the church choir. Such great singers as F.I. Chaliapin and I.S. Kozlovsky in this case served as a "negative" example: they did not stop singing in the temple.

Often, secular choirs could not perform church compositions due to direct ideological prohibitions. Sometimes they sang a melody without words or substituted other words. But in the second half of X I In the 10th century, the spiritual works of the great Russian composers gradually began to be performed in their original form. And by the end of the century, it was already difficult to find in Russia such a secular choir group that would not try their hand at performing church music. Revival of parishes and monasteries, removal of unspoken bans on participation secular singers in church singing, the publication of gramophone records and cassettes with church hymns, experiments in restoring old Russian tunes all this led to the fact that, of all types of church art, it was church singing that received at the end of X I X century the greatest development.

Sacred music is the progenitor of all Russian musical creativity. At all times, it has been the sphere of application of the creative forces of outstanding Russian composers. The motives for which they turned to spiritual genres were different from internal religious attitudes to aesthetic preferences. The music of the Russian Orthodox Church is the source of classical music up to the present day. It finds its natural refraction in the work of composers working in the genres of spiritual and musical compositions. But due to its deep soil, this musical plan, often perceived as folklore, is included by composers in works of secular musical genres.

Russian composers brought to the world culture original techniques of musical writing, inherent only in Russia. Their artistic method is based on ancient church genres, enriched with intonations of Russian folklore and the achievements of professional composer creativity. These traditions are continued by modern domestic composers.

REFERENCES

1. Asafiev B. Russian music XIX and early XX centuries. L.; 1979.

2. Gardner I. A. Liturgical singing of the Russian Orthodox Church. Story. Volume 2. Sergiev Posad, 1998.

3. Golitsyn N. S. modern question on the transformation of church singing in Russia. SPb., 1884.

4. Grigoriev S. S. Theoretical course of harmony. M., 1981.

5. Karasev P. A. Conversations with N. A. Rimsky-Korsakov // Russian musical newspaper. 1908. No. 49.

6. Kovalev K.P. Bortnyansky. m.; 1984.

7. Kompaneisky N. I. On the style of church hymns // Russian musical newspaper. 1901. No. 38.

8. Konisskaya L.M. Tchaikovsky in Petersburg. L-d, 1976

9. On the collection of concert programs of the Synodal Choir since 1894 (RGALI, f. 662, op. 1, No. 4).

10. Odoevsky V.F. Works. In 2 vols. M.; Artistic lit. 1981.

11. Preobrazhensky A. V. Cult music in Russia. L., 1924.

12. Pribegina G.A. P.I. Tchaikovsky M.; Music 1982.

13. Rakhmanova M. P. Spiritual music of N. A. Rimsky-Korsakov // Academy of Music. 1994. No. 2.

14. Rakhmanova M. P. N. A. Rimsky-Korsakov. M., 1995.

15. Rimsky-Korsakov A. N. N. A. Rimsky-Korsakov. Life and creation. Issue. 1. M., 1933.

16. Rimsky-Korsakov N.A. Selected letters to N.N. Rimskaya-Korsakova. Vol. 2: Publications and memoirs // Musical heritage: Rimsky-Korsakov. M., 1954.

17. Rimsky-Korsakov N. A. Chronicle of my musical life // Complete works: Lit. Works and correspondence. T. 1. M., 1955.

18. Rimsky-Korsakov N. A. Complete Works: Lit. works and correspondence. T. 5. M., 1963.

19. Solopova O.I. Sergei Vasilyevich Rahmaninov. M.; 1983.

20. Trifonova T.V. Choral church song as one of the types musical arrangement Orthodox worship: method. Work/

21. Tchaikovsky P. I. Complete Works: Lit. works and correspondence. T. 10. M., 1966.

22. Tchaikovsky P.I. About Russia and Russian culture. Complete collection of works. M.; 1966. t 11

23. Cheshikhin V. E. N. A. Rimsky-Korsakov. Collection of Spiritual and Musical Works and Arrangements // Russian Musical Newspaper. 1916. Bibliographic sheet No. 2.

24. Yastrebtsev V. V. List of works by N. A. Rimsky-Korsakov // Russian musical newspaper. 1900. No. 51.

Copyright JSC "Central Design Bureau "BIBCOM" & LLC "Agency Kniga-Service" Copyright JSC "Central Design Bureau "BIBCOM" & LLC "Agency Book-Service" OF MUSIC EDUCATION S. N. Bulgakova SPIRITUAL MUSIC IN THE WORKS OF RUSSIAN AND FOREIGN COMPOSERS TEACHING AID FOR THE DISCIPLINE OF CHORAL CONDUCTING specialty 071301 Folk art CHELYABINSK 2007 Copyright OJSC "Central Design Bureau" BIBCOM " & LLC "Agency Book-Service" A. G. Nedosedkina, head. Department of Ethics and Aesthetics, Moscow State Pedagogical University, Professor Bulgakova, S. N. B 90 Sacred music in the work of Russian and foreign composers: studies. allowance / S. N. Bulgakov; Chelyab. state. acad. culture and arts. - Chelyabinsk, 2007. - 161 p. ISBN 5-94839-084-5 Textbook for Composers" "Sacred music is intended for students in the work of the daytime Russian and foreign correspondence departments studying in the specialty 071301 "Folk Artistic Creativity". The manual contains historical information and a brief analysis of the works presented in the appendix. Musical material can be used in compiling the repertoire of the choir class, and will also serve as educational material in the choral conducting class. 031770 I Published by decision of the editorial and publishing council of ChGAKI Glinskaya State | academy of culture and arts 1 Scientific library Bulgakov S. N., 2007 Chelyabinsk state academy of culture and arts, 2007 ISBN 5-94839-084-5 practical academic discipline of a special cycle for future music teachers. At the same time, this course (choir class) is in close interaction with other special disciplines (choral conducting, reading of choral scores, the main musical instrument), as well as with musicological subjects (solfeggio, harmony, polyphony, analysis of musical works). This relationship is due to the unity of goals and objectives: the upbringing of the high professionalism of a musician-teacher, devotion and love for the chosen specialty. The work of the choir class provides for various forms: purely educational (ascent from the simple to the complex), methodological (development of skills in leading the choir), concert ( concert activity). A significant place is given to choral singing without instrumental accompaniment (a cappella), which requires increased attention to the intonation alignment of the choral sound. The proposed study guide is intended specifically for working on the a cappella choral performing style. It is known that unaccompanied choral singing is concentrated mainly in the field of spiritual (church) musical heritage, and its history goes back more than ten centuries. Such a long historical path is extremely rich in achievements that go far beyond the framework of only church action (church ordinarium). The artistic and aesthetic merits of the best examples of church music made it truly spiritual in the deepest, universal understanding. Taking into account the scale of the heritage of choral sacred music, in this work a chronological approach is chosen in structuring the musical and musical notation material. The manual consists of two parts: the first part is devoted to the Russian school (“Sacred music in the work of Russian composers”), the second is foreign (“Sacred music in work of foreign composers). The first part offers ten works (D. Bortnyansky, O. Kozlovsky, P. Chesnokov, S. Rachmaninoff); in the second - six (L. Cherubini, L. Beethoven, F. Schubert). An important component of this tutorial is the methodological recommendations regarding the artistic and technical development of each of the presented works. The given choral works are arranged by the author-compiler for female choir with maximum preservation of all choral parts of the original. We hope that this manual, repeatedly tested in the educational process, will contribute to the education of artistic taste and professional maturity of students-choirmasters. Copyright OJSC "Central Design Bureau "BIBCOM" & LLC "Agency Book-Service" SECTION I. SPIRITUAL MUSIC IN THE WORK OF RUSSIAN COMPOSERS Sacred music of Russian composers is an important component of the women's choir's repertoire. It is considered as a musical and artistic phenomenon of national culture. Full of thoughts and feelings, Russian sacred music is a fertile basis for the moral education of the younger generation and the development of vocal and performing culture. This is an inexhaustible source of beauty and wisdom, combining highly artistic texts, selected by centuries of practice, with the musical perfection of classical compositions by Russian masters. It was the singing art of the church that was assigned such terms as "angelic singing", or "red singing", as well as liturgical singing. Tracing the path of development of vocal and choir education in Russia, it should be noted that liturgical singing was closely connected with folk singing traditions: singing in a convenient range, using a kind of sing-song accompaniment, chain breathing, singing without accompaniment and other techniques. It was in liturgical practice that a professional school of choral art was created, which contributed to the development of the correct vocal skills in singers, which have become traditional for Russian choral singing. Deeply meaningful intonation, purity of order, long breathing, the ability to control the voice, the natural manner of sound production without forcing - this is the legacy that the practice of liturgical singing has left us. M. Berezovsky, S. Degtyarev, A. Vedel, D. Bortnyansky and others belong to the galaxy of magnificent musicians of the 18th century, masters of choral writing. traditions of Russian classicism, with its characteristic sublimity of the system, feelings and images. Bortnyansky is one of the greatest Russian composers of the 18th century, Ukrainian by nationality. From childhood, he studied singing and music theory at the Court Singing Chapel in St. Petersburg. Studied composition under B. Galuppi. In 1769-1779. lived in Italy, where his operas Creon, Alkid, Quintus Fabius were staged. Upon his return to Russia, Bortnyansky was appointed bandmaster, and then director and manager of the Court Choir. The heyday of the chapel is connected with his activity. He also worked at the court of the heir Pavel Petrovich. For court performances, he wrote three operas based on French texts. All of them - "The Feast of the Lady", "Falcon", "Rival Son, or Modern Stratonic" - were performed under the direction of the composer. Bortnyansky entered the history of Russian music primarily as the author of spiritual compositions (works of other genres did not gain fame outside the narrow circle of the court). The composer created a new type of Russian choral concerto, in which the achievements of opera, polyphonic art of the 18th century, and classical forms of instrumental music were used. The collection of spiritual works by D. S. Bortnyansky includes 35 concertos for a mixed choir and 10 for a double composition, 14 Laudatory concertos, approaching concerts in structure (“We praise God to You”), 2 liturgies, 7 four-voice and 2 eight-voice Cherubim and a whole a number of other songs. A monument of classical choral art of the second half of the 18th century. is choral concert No. 15 "Come, let us sing, people ...". Its poetic basis is the text of Sunday stichera 1 of the 4th tone on “Lord, I have cried”, which is performed at Vespers after this chant. Concert No. 15 calls to sing the Resurrection of the Lord. The composition of the Concerto consists of three parts and is characterized by gradual transitions from one part to another. Nevertheless, they are contrasting in their content and embodiment in musical means expressiveness. Following the ancient traditions of Russian church singing art, the composer uses one of the main formative principles: the principle of contrast between the alternation of tutti (Italian - all) and small concert groups of voices (2-3 voices). In terms of texture, the Concerto is based on a synthesis of harmonic and polyphonic styles. The first part of the Concerto sounds lively and majestic. Bold upsurges of an energetic and joyful melody in the key of D-dur, quarto-fifth moves, imitative introductions of voices enhance the solemnity and festivity of this movement. In the Concerto, only individual lines of the stichera are used, but they are repeated many times and vary in the choral texture of the work, affirming the main idea. In this part of the work, one can hear the imposing ceremonial style of Catherine's time with characteristic marching rhythms, exclamations of triumph and jubilation: "Come, let's sing, people, Spasovo's three-day uprising." Part II sounds in the key of h-moll (harmonic). It is deeply lyrical in tone, filled with concentrated reflections on life and death, passionate prayer and compassion ("Crucified and buried"). With touching immediacy, the sadness of parting with life is conveyed in the melody. Slow tempo, falling melody short phrases reinforce this mood. Transparency of harmony, quiet sound, wide arrangement of chords require careful work on tuning in this part. The harmonic development of the first and second parts is a natural fusion of the traditions of Russian Orthodox singing and the achievements of European music. The work uses natural modes (Ionian, Lydian), and traces the characteristic for composers of the 18th century. reliance on consonance, giving the overall sound of the Concerto enlightenment and spirituality. Bortnyansky proved to be a great master of form. Thus, the contrasting beginning of the third part of the Concerto does not produce the effect of surprise, being prepared by the harmonic development of the second part. At the same time, the textural contrast defines this part as the climactic and at the same time final not only in content, but also in musical dramaturgy: “Savior by Your Resurrection”. The combination of harmonic texture and imitative conduction with an animated pulse of eighths and a high register held gives special tension and significance to this section. This part is of particular difficulty in the choirmaster's work on the tuning and ensemble of the choir and soloists due to their frequent alternation in performance. The depth of performance, the stylistic accuracy of church works largely depend on the depth of comprehension of the content of the verbal text. Naturalness, purity and sublimity, reverence - this is what was originally inherent in spiritual creations. Another feature is related to the expressiveness of the pronunciation and presentation of the word. The liturgical manner of reading must be preserved in singing practice. In Church Slavonic, the word is pronounced as it is written, especially for vowels, since it is the everyday performance of vowels that destroys the stylistic structure of the pronunciation. Copyright JSC "Central Design Bureau "BIBCOM" & OOO "Agency Kniga-Service" of references ("let's sing", not "waspaim", "uprising", not "uprising", etc.). When performing spiritual chants, there is no reduction in sounds (weakening of the sound of vowels in an unstressed position), since all of them are extended and thus cleared up (see Concerto No. 15, part II). Conveying the beauty of each word and precise articulation are important moments in the performance of Concerto No. 15. Studying the traditions of church singing will help you find the right tempo: in the slow part of the work, smoothness, fluidity and uniformity of movement dominate, and the “singing” of small durations in the extreme parts helps to avoid marching and fuss. In a concert performance, a correctly chosen tempo should contribute to shaping. Concerning the problem of sound formation, it is necessary to emphasize such important qualities in the performance of sacred music as simplicity, spirituality and flight of sound. Immersion in the atmosphere of spirituality, the desire to embody high images, natural expressiveness coming from the heart will help in finding the right sound and dynamic colors of D. S. Bortnyansky's Concert No. 15. The age-old tradition developed a certain attitude towards liturgical music, which was regarded as a generalized expression of the feelings of believers, as a purification from everything random, subjective. However, in the church music of the second half of the XVIII century. imagery of a different kind penetrates: composers often reveal the meaning of prayer texts in sketches taken from life itself. The emotional structure of music also changes - the feelings that it embodies acquire the character of a secret lyrical statement. It is this subjective attitude, which in principle is not characteristic of ancient church art, that makes the works of O. Kozlovsky belong to the new time - the beginning of the 19th century. Osip (Joseph, Yuzef) Antonovich Kozlovsky (1757-1831) - one of the outstanding Russian composers of the late 18th century. - was born into a Polish noble family. He was educated in the chapel of the Warsaw Cathedral of St. Yana, where he was a chorister and organist. He taught music at the Oginsky estate. At the age of 29, he became an officer in the Russian army (participated in the capture of Ochakov), was enrolled in the retinue of Prince G. A. Potemkin, and acted as a composer and conductor. Kozlovsky became famous in Russia for his instrumental and choral polonaises (over seventy). Among them, the polonaise "Thunder of victory, resound" is especially noteworthy, which for a long time was performed as the Russian national anthem. The composer's works have won fame not only in Russia, Poland, the Czech Republic, but also in other countries. As director of the imperial theatres, Kozlovsky directed orchestras, organized court festivities, and oversaw the training of musicians at the theater school. The composer's work covers a number of musical genres, including lyrical songs for voice and piano ("Russian Songs"). In the songs and romances of O. A. Kozlovsky, the artistic principles of the Russian romance were first outlined, which were developed in the 19th century. Marked by the spirit of solemnity and pathos, Kozlovsky's music often rises to the level of a truly tragic tone. The composer activated the role of the choir in the tragedy, increased the dramatic function of the orchestra, paved the way for the Russian program dramatic symphony of the 19th century. The name of Osip Kozlovsky can be ranked among the names of the brilliant masters of the orchestra of the pre-Glinka period. His orchestration - juicy, bright and very diverse for its time - became one of the foundations for the formation of M. I. Glinka's powerful and plastic orchestral style. Copyright OJSC "Central Design Bureau" BIBCOM " & LLC "Agency Book-Service" 8 Already at the end of the 18th century. in the Russian musical theater acquires great importance genre "tragedy with music". It most fully revealed the talent of the composer Kozlovsky. Evidence of this is his numerous choirs to theatrical performances(to "Fingal" by V. Ozerov, "Esther" by P. Katenin, "Oedipus Rex" by A. Gruzintsev, etc.). The composer connected the images and themes of classical tragedy with the traditions of Russian stage, choral and chamber music of the late 18th century. In its majestic choirs, the traditions of Russian choral concerts a cappella by D. S. Bortnyansky, M. S. Berezovsky and their predecessors can be traced. The music of O. Kozlovsky is distinguished not only by the professional confidence of writing, but also by the special nature of expression. You can hear noble patriotic grief in it, sadness for the torn and enslaved Motherland. These sentiments were expressed with particular force in his heartfelt Requiem 2, dedicated to the memory of the Polish king Stanisław August Poniatowski. The requiem was performed in the St. Petersburg Catholic Church on February 25, 1798 with the participation of outstanding Italian singers. Throughout his career, Kozlovsky repeatedly turned to work on this work. The second edition, carried out in 1823, was not completed by the composer due to illness. The appendix contains two parts of the Requiem in c-moll: No. 2 Dies irae - "Day of Wrath", No. 13 Salve Regina - "Hello, Queen". Dies irae ("Day of Wrath") is the climax of the Requiem. The canonical text of the liturgy paints a picture of the Last Judgment: 2 Dies irae, dies ilia Solvet saedum in favilla, Teste David cumSybilla. Quantus tremor est futurus, Quando judex estventurus, Cuncta stricte discussurus. Translation from Latin: Day of wrath - that day Will squander the universe into dust, Thus testify David and the Sibyl. How great will be the trembling, How the judge will come. To put everyone on trial. The composer focused his attention on the mournful aspect of the tragic event doomsday. The decisive invocative sounds of the trumpet (ff, c-moll) in the introduction, the rolling waves of passages (yes, erase, molto) lead to a choral sound of a firm, strong-willed, unyielding character in a high tessitura: "The day of anger - that day will squander the universe ..." . Accents in the orchestra and choir contribute to the progressive movement of the first theme, which acquires a more agitated, assertive character due to the polyphonic plexus of voices (measure 39). The music paints a picture of confusion and horror. The inventiveness of the musical language, full-blooded sound recording are a vivid confirmation of the traditions of classicism. The second part of the work (“How great will be the trembling, how the judge will come” - measure 63) is built on the principle of modal and dynamic contrast. The tonality of es-moll appears. The frozen melody on repetitive sounds, the intonation of a small second, the low tessitura sound of the choir, supported by the tremolo in the orchestra, follow the content. The imitative development of the theme leads to the climax (measure 107) of the second movement. Requiem (from the first word of the Latin text “Requiem aeternam dona eis, Domine” - “Give them eternal rest, Lord”) is a funeral mass, a major work for the choir, soloists and orchestra, performed in Latin. The Requiem differs from the Mass in that it lacks parts of Gloria and Credo, instead of which are introduced: Requiem, Dies irae, Lacrimosa, etc. Initially, the Requiem consists of Gregorian chants, from the XVII-XVIII centuries. the requiem becomes a monumental cyclic work for choir, soloists and orchestra. Copyright OJSC "Central Design Bureau" BIBCOM " & LLC "Agency Book-Service" 9 The third part is an extended and varied reprise with a conclusion. This section brings us back to the moods and images of the beginning of the work. The large-scale form, a wide range of choral parts (from A small to B-flat of the second octave), the extraordinary expression of the musical language of the work require professional skills from the performers. Particular attention should be paid to singing high tessitura sounds in the part of the first sopranos on the support of the breath (bars: 31-34,56-60). The choirmaster needs to achieve a dynamic, rhythmic ensemble, the accuracy of the execution of strokes, the purity of the order in the choir. Completing these tasks will serve to unlock artistic image works. B. Asafiev sees the connection between Kozlovsky's music and Beethoven's in C minor: “... In the pathetic explosions, groans, gusts and falls of music of this key, the key of heroic sadness, a new world of feelings is revealed that broke free in Europe along with the revolution and reached its northern limits". The appearance of the number "Salve Regina" in the Requiem in c-moll is not accidental. It can be seen as a tribute to the tradition of the Catholic faith, in which the Virgin Mary is the intercessor of believers. Enslaved Poland was repeatedly shaken by national liberation uprisings, and the work should be regarded as a tribute to these heroic events. c. 1 Salve Regina, mater misericordiae, c. 2 vita dulcedo et spes nostra, salve, ad te damamus exules filii Evae, c. 3 ad te sospiramus gemmentes et flentes, inhac lacrymarum valle. c. 5 Eia ergo advocata nostra, illos tuos misericordes oculos, c. 6 ad nos converte et Jesum benedictum, c. 7 post hoc exilium nobis ostende; o clemens, o pia, odulcis Virgo Maria! 3 Antiphon (Gren, counter-sound) - alternately singing was widely used in the Christian church. The meaning of the canonical text of the prayer is as follows: c. 1 c. 2 Hello Queen! Mother grieving. Life, joy, our hope, hello! We turn to you with hope and fear. c. 3 Save, by the will of the gods! Cry out mercy and protection, cry out protection. c. 5 Well, be bolder, protect for the sake of glory, 8look around. c. 6 Humiliated and beaten, we turn to you. The blessed Jesus is addressing. c. 7 Then he will go into exile with hope. Oh, quiet, magical, Oh, gentle, Virgin Mary. "Salve Regina" was written in the traditions of the sacred music of the Classicism era, which is distinguished by lyricism and nobility of melodic lines, strict texture, the use of antiphonal 3 singing by a group of soloists and a choir. This technique helps to highlight the main words of the prayer, to evoke an emotional response from the choir. The "Salve Regina" number consists of a quartet of soloists (soprano, alto, tenor and bass), a mixed choir and an orchestra. Despite the choral texture, the features of a funeral procession are clearly traced in the work (Adagio, 2/4). The composition is written in a three-part reprise form with a contrasting middle. A short lyrical introduction (Es-dur) outlines the main themes of the first movement. The appeal to the Virgin Mary sounds solemnly and expressively. The soft melodic line is filled with love and suffering. The culminating words sound excitedly: “Save by the will of the gods, cry out for protection” (bars 36-40). The first part is completed by an orchestral episode (bars 47-59), in which the intonations of “Stabat mater” by J. Pergolesi. The light character of the first section is opposed by the second part of the work. The emergence of g-moll tonality, dissonant harmonies, sequential development of her singing of two choirs or a soloist and a choir. Antiphonal Copyright JSC "Central Design Bureau "BIBCOM" & LLC "Agency Book-Service" 10 melodies dramatize the overall sound, responding to the words: "Eia ergo advocato nostra ..." ("Well, defend more boldly for the sake of glory ..."). The work ends with the traditional for composers of the second half of the 18th century. varied reprise of a light lyrical character. She sounds like a symbol of hope: "Oh, quiet, magical Virgin Mary!". A striking confirmation of the traditions of classicism in the work is the reliance on consonance. The choirmaster will have to work thoughtfully on the structure of the choir and the stylistic features of the piece. Performing compositions from the Requiem in C minor by O. Kozlovsky, students get acquainted with the outstanding monument of Russian choral culture of the second half of the 18th century. The turn of the XIX-XX centuries. - the most important milestone in the history of Russian choral writing and performance. This time became a true "spiritual renaissance" of Russian church music. Choral compositions created in the period from the mid-1890s to 1917 belong to the so-called New Direction in Russian liturgical musical art. An appeal to the origins, to the practice of Znamenny singing of Ancient Russia becomes the essence of the New Direction. Thus, the dialogue between Russian musical traditions and modernity was renewed. The style of these compositions is dominated by free voicing, a characteristic feature is a free asymmetrical rhythm based on verbal rhythm. The choir represents a kind of "orchestra" of timbres of voices. The music of the New Direction performed a kind of intermediary function between liturgical practice and the secular art of concert purpose. Temple music of the Silver Age is often referred to as the "school of the Synodal School". The most prominent representatives of this school were the composers S. V. Rakhmaninov, A. T. Grechaninov, A. D. Kastalsky, A. V. Nikolsky, M. M. Ippolitov Ivanov, and P. G. Chesnokov. ,J , spiritual creativity Pavel Grigorievich Chesnokov (1877-1944) is distinguished by careful reference to ancient primary sources, naturalness and beauty of harmonization, novelty of coloristic, timbre-register, textural solutions, bright national character. A graduate of the Synodal School and the Moscow Conservatory, a prominent regent of church choirs, professor of the Moscow Conservatory P. G. Chesnokov created over 300 works of sacred music. Among them are several cycles of the All-Night Vigil and Liturgy, two Panikhidas, ten Communions and other compositions. P. G. Chesnokov was born near the city of Voskresensk (now the city of Istra) in the Moscow Region on October 12, 1877. In 1895 he graduated from the Moscow Synodal School of Church Singing. Led a class of choral conducting at the college, taught choral singing in primary and secondary schools. In 1917, Chesnokov graduated from the Moscow Conservatory in composition and conducting under M. M. Ippolitov-Ivanov and S. N. Vasilenko. After the revolution, he was actively involved in the development of Soviet choral culture. Directed the State Choir, the Moscow Academic Choir Chapel, was a choirmaster Bolshoi Theater and more than 20 years as a professor at the Moscow Conservatory (1920-1944). Among his works is the book "Choir and Management" (1940), which developed the theoretical problems of choral art. The greatest master of Russian choral culture, P. G. Chesnokov, sought from the choir a perfect performance technique, an accurate transfer of the composer's intentions with an impeccable system and ensemble, and the timbre brilliance of the choral sound. The textbook contains excerpts from the Liturgy (op. 9). Liturgy (translated from Greek - “common cause”) - a joint service, is the main Christian service of the Orthodox Church, at which the sacrament of the Eucharist is celebrated (Greek: Liturgy). - "thanksgiving"). The rite of the Eucharist - the breaking of bread with wine - means a mystical union with God (bread is the body of Christ, wine is the blood of the Savior). By partaking of the Body and Blood of Christ, believers draw spiritual strength to strengthen their faith. The entire rite of the Eucharist is celebrated with words of thanksgiving. In the “Apostolic Ordinances” (ch. 9), one of the oldest church documents, one can read such thanksgiving about the bread, symbolizing the body of Christ: We thank You, our Father, for the life and knowledge that You proclaimed to us through Jesus, Your servant. Glory to you forever. As this broken bread was scattered on the mountains, collected and made one, so may Your Church be gathered from all ends of the earth into Your kingdom. For yours is the glory and power through Jesus Christ forever! In such an atmosphere, communion turned into a sublime ritual. The liturgical act depicts the life of Christ from his birth to the resurrection, conventionally it is divided into three parts. Each musical number has its own purpose according to the rank, that is, the order. There are liturgies of Saints Basil the Great and John Chrysostom, the formerly consecrated gifts. The liturgy (op. 9) was written by P. G. Chesnokov for the boys' choir of the Moscow Synodal School. It consists of 16 issues, printed in 1913 by Jurgenson's publishing house. The spiritual hymn "Glory... to the Only Begotten Son" (No. 2) is a majestic solemn choral psalmody. The work begins with the sound of a 5-voice choir. The solemn soprano octave (the third mode) imitates the ringing of bells, into which the theme of an energetic, resilient character is woven: “Glory to the Father and the Son!” The melodic line sounding inside the chord structure should be dynamically emphasized, the voices framing it should be played quieter. The middle section "Only Begotten Son" - the main part of the chant - develops the motifs of sacrifice on the cross in the name of saving people, victory over death, so the sacrifice is realized in major harmony (C-dur). Variable meter (3/2.2/2.2/4) and slow tempo convey the style of everyday psalmodic singing, creating an atmosphere of severity and significance of each word, on the one hand, and, on the other hand, a careful attitude to the text and its semantic loads. The dramatic climax, expressing the suffering of Jesus Christ, “Crucify, O Christ God...”, is emphasized by a minor nona, reinforced by octave doublings. Litany 4 (petition) "Lord, save" (No. 5) is an organic part of the liturgy. The nature of the prayer is reflected in the harmonic simplicity of presentation, its penetration - in the beauty of melodic motifs, the sonority of which grows with each performance. The roll call of voices (altos and sopranos) reinforces the meaning of the triple petition "Holy God, have mercy on us." Using simple harmonic colors, the composer creates a work of amazing mood and soulfulness. The author adheres to classical traditions in terms of harmonics, uses beautiful "romantic" transitions in the tonality of the third ratio (C-dur-e-moll). The diminutiveness affects the watercolor and compactness of the harmonic arrangements of chords (close arrangements), the lighter movement in e-moll sounds higher in the register plan and colors the key of C-dur in a light tone (Lydian mode). The litany is a thrice-holy prayer, it introduces one into the divine mystery of the trinitarian life, in it there is an appeal to the Lord with a plea to accept the thrice-holy hymn from the believers. It is believed that this song is borrowed from the angels themselves, who sing it before the throne of the almighty God. Copyright OJSC "Central Design Bureau "BIBCOM" & LLC "Agency Book-Service" 12 The median recitative section "Glory to the Father and the Son ..." is performed with a clear pronunciation of the word in the phrase. Dynamism to the development of the work is given by the psalmody, built on the rhythmic freedom of speech. The concentration on the word is emphasized by the harmonic texture. The choirmaster should conduct, starting from the text, emphasizing the meaning of the word, as is customary in regency practice. The nature of the spiritual hymn “Praise the Lord from Heaven” (No. 14) is cheerful and festive; it begins the most solemn part, when the Royal Doors open. The endowed gifts figuratively point to the appearance of the Resurrection of Christ. The choral texture is lacy, virtuoso, with dynamic development. The effect of chimes permeates the entire melodic fabric of the piece. The roll call of voices, the juxtaposition of soprano and alto timbres, fourth-quint jumps enhance the impression of popular rejoicing, invocative intonations sound more harmoniously (Т-D, then VI7, S7, VII |, II5). At the same time, the range of choral sound is expanding. The calm middle part flows warmly and gently. There is a polyphonization of the choral texture, the melody overcomes static. Songlike and lyrical, it contrasts with the extreme parts of the work. There is a deviation in D-dur, then - in Fis-dur. The final section is the dramatic culmination of the chant, where the composer uses a verbal variation: the chant ends with solemn exclamations of "Hallelujah!", which literally means "Praise, praise God!". The performance of laudatory verses should be light, brilliant, without tension and loudness. “May my prayer be corrected” is the most famous work of P. G. Chesnokov. Four stanzas of the text are taken from Psalm 140 of David. The text points to the rite of offering daily evening sacrifices, which was performed in ancient times. At the service, when these verses are sung, the Royal Doors open, and the worshipers kneel. According to the established tradition, after each stanza of the soloist, the choir performs a refrain with the basics of the text, the composer fills the verses with choral sound as well. Thus, the prayer is sung with an accompanying choir, which not only accompanies the melody, but, supporting it, is an emotional response to the soloist's part. From the church ritual and the semantic fullness of the text of the psalm, a slow pace of the work, restraint in expressing feelings, strictness in performance, combined with sincerity, developed. Using the velvety timbre of mezzo-soprano, a beautiful wide melody, rich legato of the choir, various timbre and dynamic colors, the composer achieves a deep emotional impact on the listeners. The choir must sensitively follow the main melody, sing in the "second plan", while maintaining the expressiveness of the choral part. The second and fourth stanzas are the most difficult to perform: chromatic succession of sounds and whole chords, their wide arrangement, high sounds of the soprano on the nuance of p and pp. The soloist's part is also not easy: over a wide range (from A small octave to D of the second octave), the voice should sound soft, beautiful and even. Therefore, the performance of the solo part should be given to a professional singer. “Quiet Light” by P. G. Chesnokov is one of the most difficult works to perform, presented in the manual. “Quiet Light” is an evening laudatory song, one of the oldest Christian hymns. The text tells about the imminent coming to earth at the end of the Old Testament time of Christ, about the beginning of a new day - the day of eternity, given by God for the sake of the redemptive feat of His Son. A two-horse (eight-voice) composition requires special purity of chords and octave unisons with very quiet singing (part I and reprise) and with bright singing on repetitive sounds; expressive presentation of the phrase, where each choir has its own peak; the combination into a single whole of short melodic constructions, despite the abundance of pauses. The light, flying sound of the female choir will convey the feeling of flowing light and the festive overflow of bells during the performance of the work. The verse “Come, let us please Joseph” by P. G. Chesnokov is complex in its emotional richness (performed while kissing the shroud). It tells about Joseph of Arimathea, who, according to legend, asked Pilate for permission to remove the body of Christ from the cross and bury him. The chant describes previous events (the betrayal of the disciple, the suffering of the Mother) and predicts the future resurrection of the Savior. The stichera is divided into three periods: - an appeal to the listeners of the stichera; - Joseph's request to Pilate and the lamentations of the Mother of Jesus standing at the cross, which are transmitted in rhetorical terms; - glorification of the sufferings of Christ. The work, monumental in form, reflects the inner state of a person's soul, his feelings and experiences. The musical language of the composition is unusually expressive and aggravated. The mournful intonation of the tritone permeates the entire choral texture from the first to the last measure. The descending and ascending sequences of tart seventh chords are very expressive, identified with the expression of a request and crying (“give me”, “alas”). Numerous pauses and stops are expressive and significant. The epic-dramatic nature of the work of P. G. Chesnokov suggests restraint and strictness of interpretation, avoiding “sentimentality” in performance. The romantically sublime feeling of unity with the native land, with its history and the Orthodox faith did not disappear in the culture of the Silver Age. The theme of Russia has become one of the "enchanted shores" where the last Russian romantics found refuge. Among them stands the powerful figure of the Russian composer, pianist and conductor Sergei Vasilyevich Rachmaninoff (1873-1943). He was born in the Semyonovo estate of the Novgorod province. Came from a noble family. At the age of four, he began learning to play the piano under the guidance of his mother. Since 1855, he studied at the Moscow Conservatory, first in the class of N. S. Zverev, then with A. S. Siloti (piano), A. S. Arensky (harmony, free composition), S. I. Taneeva (counterpoint of strict writing). At the age of 18, Rachmaninov graduated from the Conservatory with a big gold medal in piano and composition (1892). Rachmaninoff's talent as a pianist and composer was phenomenal. The diploma work - the one-act opera "Aleko" - was written in 17 days. In the early compositions of Rachmaninov, the features of his romantic style were determined. His music is characterized by bright, intense expression, multifaceted melody, colorful harmonic language, and a penchant for lyrical and psychological generalizations. These features are reflected in the composer's early works - romances ("Do not sing, beauty, with me", "Spring waters", "Island"), in operas ("The Miserly Knight" and "Francesca da Rimini"), a poem for a symphony orchestra, choir and soloists "The Bells", cantata "Spring". Piano works of large (four piano concertos) and small forms, including the prelude op. 23, op. 32, fantasy plays, etudes-pictures, musical moments, variations, sonatas. Concert performances in various cities of Russia and abroad brought Rachmaninoff the fame of one of the greatest pianists of our time, however, at the end of 1917 he left Russia forever. The composer settled in the USA, where he stayed until the end of his life. During this period, Rakhmanov was completely absorbed in concert pianistic activity. In the late period of creativity (the second half of the 1920s), his music acquires new features, colored by a tragic worldview. The composer's style becomes more ascetic, sometimes harsh. Echoes of spiritual drama are embodied in the figurative structure of his works, created in the 1930s. The theme of the Motherland is intertwined with the motif of the tragic loneliness of the artist, cut off from his native soil. Rachmaninov took the war against fascism as his personal tragedy. The composer performed a lot in charity concerts, the proceeds of which he transferred to the Defense Fund of the Motherland. He died away from her on March 28, 1943. creative heritage S.V. Rachmaninoff is spiritual choral music. According to Rachmaninoff, ancient Russian singing art, together with folklore, was the most important source and support of Russian musical culture as a whole, the focus of the historical memory of the people, their artistic feeling and aesthetic consciousness. It is no coincidence that creative way composer, there were works related to folk music and musical tradition of the Middle Ages. In the 1890s these were arrangements of folk songs for piano four hands (op. 11) and the Choral Concerto “In Prayers, the Vigilant Mother of God”. In the 1910s - the pearl of Rachmaninov's song "Vocalise", as well as "Liturgy of John Chrysostom" and "All-Night Vigil". In the foreign period - "Three Russian Songs" for choir and orchestra and the figurative-thematic sphere of "znamenny" singing in the Third Symphony, in "Symphonic Dances". Rachmaninoff's penchant for sacred music was strengthened by the influence of major authorities - the medievalist S. V. Smolensky (director of the Synodal School), who taught a course in the history of Russian church music at the Moscow Conservatory, the famous composer and conductor of the Synodal Choir A. D. Kastalsky, the author of outstanding works on folk song creativity. This is a time of rapid upsurge of democratic liberation sentiments, it brought to the fore in art the theme of the Motherland with its historical purpose and cultural contribution to the treasury of mankind. Russian art of this time, the problem of the national in all aspects was widely developed. Appeal to the distant past of the fatherland was widely reflected in music. In the 1890s choral cult music enters a period of growth and reaches significant heights with Kastalsky, Grechaninov, Lyadov, Chesnokov, and especially with Rachmaninov. The activities of these composers, outstanding conductors, and musical scientists, concentrated in Moscow, constituted the so-called "Moscow school" of choral sacred music of the late 19th - early 20th centuries. The most significant phenomenon here was Rachmaninov's "All-Night Vigil". For the first time, the composer turned to a major form of spiritual musical art in 1910. Then he created the Liturgy of St. John Chrysostom". It includes the texts of twelve chants, each of which is distinguished by a special spirituality. All-night, all-night vigil (translated from Church Slavonic - “night wakefulness”) - evening worship, liturgy on the eve of the holidays; includes a large number of a cappella chants (17 main). Liturgy "All-Night Vigil" op. 37 S. V. Rachmaninov is an amazing choral symphony consisting of 15 chants: No. 1 “Come, let us bow”, No. 2 “Bless, my soul”, No. 3 “Blessed is the husband”, No. 4 “Quiet light”, No. 5 “Now you let go”, No. 6 “Virgin Mother of God, rejoice”, No. 7 “Six Psalms”, No. 8 “Praise the name of the Lord”, No. 9 “Blessed be Thou, O Lord”, No. My Lord, No. 12 Great Praise No. 13 Today is Salvation, No. 14 Risen from the Sepulcher, No. 15 Chosen by Copyright OJSC Central Design Bureau BIBCOM & LLC Agency Book-Service 15 voivode. The music is based on authentic ancient Russian chants: Znamenny, Kyiv, Greek. In the score of "All-Night Vigil" the main musical-historical stylistic layer clearly stands out - the old Russian melody itself. In addition, certain features of the choral polyphonic culture of the 17th-18th centuries are reflected: textural features of the choral concert a cappella - partessial and classicist. Relatively rarely, in the score of the Vespers, there is a continuous chordal four-voice - a choral texture typical of church music of the 19th century. But the links with folk songs are exceptionally strong here. The contact of folklore and everyday intonational spheres is very characteristic of Rachmaninov's music. The folk-song stylistics appears especially clearly in the sub-voice polyphonic structure of the texture, which dominates the score. Quite often the composer uses contrasting polyphony, the simultaneous combination of different melodies. Finally, Rachmaninoff in his liturgical cycles freely uses the means of composer's skill, the style of opera, oratorio, and symphonic genres. It can be seen from the foregoing that the "All-Night Vigil" was created as a work that belongs simultaneously to church and secular musical culture - in terms of the depth and scale of the humanistic content, in terms of the severity and freedom of musical writing. The composer’s work was by no means limited to a simple “processing” of Znamenny melodies, but was a composition based on borrowed thematics, where Rachmaninoff consciously preserved the style of ancient Znamenny singing, in ten cases out of fifteen he turned to primary sources, in five he introduced his own themes. The basis of figurative and musical unity This cycle is served by the fusion of two intonational streams - ancient Russian musical art and classical Russian music. The composition of the chants of the Rachmaninov cycle reflects an important feature of the znamenny chant - its construction according to musical and verbal lines, in which melodic and textual logic interact. The principle of continuous variability, i.e., variance, free non-periodic rhythmic unfolding dominates. The composer often changes the meter, for example, Nos. 2-6. The ancient Russian "pedigree" of the genre itself finds expression in Rachmaninov in the use of a system of special musical means of expression. These include mean double sounds, chords with missing or, conversely, with doubled tones, various parallelisms, including those formed on the basis of pure fifths, fourths, sevenths, even chords that are polyphonic in composition. All this contributes to the colorful sound of the choral score. In the fusion of epic, lyrics and drama, Rachmaninoff emphasizes the epic beginning. The dominant importance of the epic is expressed in Rachmaninov's decision to open his cycle with an invocative, oratorical prologue-address: "Come, let's bow." The first number of the All-Night Vigil is similar to the grandiose choral introductions in the operas of Glinka and Borodin. It opens up a majestic perspective of the whole work. The composition of the cycle is formed on the basis of the two-part structure of the all-night service - Vespers (Nos. 2-6) and Matins (Nos. 7-15). The general principle of the dramaturgy of the cycle is the allocation in each of the parts of a kind of centers (No. 2 and No. 9). Vespers hymns have a lyrical character. For the most part, these are small, chamber-sounding songs, contemplatively peaceful in mood. Matins differs from Vespers in the epic-folk type of figurativeness, the scale of the forms, and the more complex structure of the numbers. The musical writing becomes more saturated, juicy and voluminous. Copyright OJSC "Central Design Bureau "BIBCOM" & LLC "Agency Book-Service" 16 The sixth number of the "All-Night Vigil" - troparion 5 "Virgin Mary, rejoice" can be considered a priceless musical pearl of Russian culture. It belongs to the songs of the evening. According to the plot, this is a joyful greeting of the Archangel Gabriel and the righteous Elizabeth to the Blessed Virgin Mary on the day of the Annunciation to Her of the mystery of the incarnation of the Son of God. The author's theme of this chant is endowed with the character of smooth whirling, singing of sounds, chanting. Here the folk-song basis is especially bright. The musical themes of the spiritual hymn are stylistically close to Znamenny singing: a narrow range of melody, keeping it within a third-quart, smooth progressive movement, symmetry of the pattern, chanting motifs, diatonicity, variable modal relationships, rhythmic calmness. The melodic principle also determines the nature of Rachmaninov's harmonic language. Each voice in the score lives its own expressive melodic life, intertwining into a single musical fabric, contributing to the vivid transmission of the image of the work. The choral texture of the composition reflects an important feature of Znamenny chant - its construction according to musical and verbal lines, in which the principle of continuous variability and variability prevails. The first three phases grow from one simple tune, but thanks to melodic freedom and skillful harmonization, they each time get a new colorful sound (1 - F-dur, 2 - d-moli, 3 - a-moll). Therefore, the role of the lower voice is so important; its drawing creates a changeable color. In the middle episode "Blessed are You in wives ..." the parallel octaves of the first sopranos and altos should be played transparently and quietly so that the second sopranos (within p) sound clearly. The climax of the work is impressive, where the voices go beyond the limits of chamberness, growing textured, register and dynamic, and cover the entire range with full-sounding ff. The gradual decay of the sound leads to the initial peaceful mood. This chant by S. V. Rachmaninoff is a kind of school of choral skill in acquiring the skills of cantilena singing; fullness of sound in nuances (p, f); in the development of chain breathing skills; using flexible, varied dynamics (from prr A o f f) and mastering a colorful sound palette, where the light gentle sound of the first part of the work is transformed into a bright “bell-like” climax. 5 Troparion (turn) - a small genre unit that determines the main content of the church holiday. Copyright JSC "Central Design Bureau "BIBCOM" & OOO "Agency Book-Service" Chelyabinsk State [double academy of culture and arts Scientific library SECTION II. SPIRITUAL MUSIC IN THE WORKS OF FOREIGN COMPOSERS The inclusion of foreign classics in the program of the choir class is a very important aspect, since it was in the West that the greatest works of art were created within the framework of church music, the foundations of musical-theoretical thought and musical pedagogy were formed. Considering the problems of Western European music, one should point out some features of its development. In purely musical terms, this is expressed in the diversity of cultural traditions, musical forms and genres. Early Christian genres (psalmody, hymns), as well as later ones (chorals, motet, mass), became the subject of numerous interpretations both within the framework of church creativity and secular composer practice. Each of them has a rich history. On the basis of these genres, over a number of epochs, the greatest examples of spiritual musical art were created. Equally important is the formation of various stylistic traditions, fused together in a piece of music as a combination of vocal and instrumental principles. Acquaintance with this richest layer of Western European music is offered through the study of works of various genres, including choral masses, requiems, cantatas by L. Beethoven, L. Cherubini, F. Schubert. A contemporary of O. Kozlovsky Luigi Cherubini (1760-1842) - Italian and French composer - took a prominent place in foreign music late XVIII - early 19th century . He is the author of 25 operas, 11 masses, cantatas and revolutionary instrumental hymns, numerous chamber compositions and romances. L. Cherubini was born in Florence, from childhood he studied music with famous Italian musicians, completed his education in Bologna, where, under the guidance of G. Sarti, he mastered the art of polyphony to perfection. From 1784 to 1786 Cherubini lived in London - was a court musician, then moved to Paris, where he remained until the end of his life. From 1795 he was an inspector of the Paris Conservatory, then a professor, and finally a director (1822-1841). Under his leadership, the conservatory became one of the best educational institutions in Europe. The popularity of Cherubini with the French audience, whose aesthetic needs and tastes he comprehended to perfection, began with the premiere of the opera Demophon (1788). Further musical and stage works of the composer - "Lodoiska", "Medea", "Vodovoz", etc. - put him among the outstanding masters of French musical art during the period of the Bourgeois Revolution and the Napoleonic Empire. Cherubini - one of the creators of the opera overture, a major teacher and theorist, the author of valuable works on the course of fugue and counterpoint; an artist who followed the traditions of K. V. Gluck in his work, organically combining the classical rigor of style with the use of folk song elements, the external simplicity of means - with drama and vivid emotionality of musical speech. The name of the composer is closely connected with the genre of the opera "horrors and salvation" - a genre that was progressive during the years of the French Revolution, reflecting the ideas of the fight against tyranny, self-sacrifice, high heroic deeds (the opera "Water Carrier"). Cherubini's choral compositions include 11 masses (including the "Solemn"), two requiems (for mixed and male choirs with orchestra), oratorio, cantatas, "Magnificat", "Miserere e Te Deum", hymns (including revolutionary ones, for choir with orchestra), motets, etc. Copyright OJSC Central Design Bureau BIBCOM & LLC Book-Service Agency 18 The composer's church music is notable for its classical austerity of style and impeccable polyphonic mastery. The outstanding examples of this genre include the Requiem in c-moll for mixed choir and orchestra. Expressing the deep world of human experiences, this work goes beyond cult music. Cherubini's requiem in c-moll is notable for its extraordinary strictness of style, restraint and purity of expression of the most subtle emotional experiences. All pages of this work are deeply humane. The seven parts of the Requiem are a cycle of the Catholic liturgy. Constructed on the principle of contrast, many numbers are presented in a mixed warehouse (harmonic and polyphonic). Imitative polyphony is widely used in the Requiem. Individual rooms consist of several parts. For example, No. 3 Dies irae ("Day of Wrath") is a grandiose composition that includes Tuba mirum, Rex tremendae, Recordare, Confutatis, Lacrimosa. The first part - Introitus (introduction) - plays the role of an overture that sets the emotional mood for the entire Requiem. A small introduction (unison cello and bassoon) creates a mood of concentration. Motives of reflection and light sadness for the departed permeate the first part of the work. In the cautious ascent of the melodic motif and the decline of the melody after the climax, human pain and prayer are expressed. Slow tempo, minor fret coloring c-moll, piano contribute to the creation of a concentrated and in-depth image. The form of the work is complex two-part (1st part - ABA, 2nd part - CD). Such a multi-dark composition is explained by the functional significance of the first introductory part and the canonical text of the prayer: Requiem aeternam dona eis, Domine, etlux perpetua luceateis. Te decet hymnus, Deus in Sion, ettibi reddeturvotum in Jerusalem; exaudi orationem meam, ad te omnis caro veniet. Requiem aeternam dona eis, Domine, et lux perpetua luceateis. Kyrie eleison, Christe eleison. The translation of the text is as follows: Grant them eternal rest, O Lord, let eternal light shine upon them. Hymns are due to You, Lord in Zion, Prayers are offered to You in Jerusalem, Hear my prayers: To You all flesh comes. Grant them eternal rest, O Lord, let eternal light shine upon them. Lord, have mercy, Christ, have mercy! The mixed warehouse of choral writing, the combination of chorale and imitative polyphony serve as a means of dynamization, emotional development of the musical image of the work. The tragically harsh intonations of the chorale "R e q u i e m a e t e r n a m" continue the imitative introductions of choral voices: "Thee are hymns, Lord in Zion, prayers are offered to Thee in Jerusalem... Heed my prayers" (bars 27-30, 49-52). Extended, wide-breathing phrases are set out in simple, clean and clear classical harmonies (T, S, D). The second part - Kyrie eleison ("Lord, have mercy") - leads to a slight dynamic climax, which is completed by falling choral chords on the word "eleison" (have mercy). The nature of the first movement of the Requiem in c-moll requires the performers to exhibit emotional restraint combined with the spirituality that distinguishes the style of this work. Such tasks are difficult to solve, but thoughtful work on the work will help their implementation. The best features of the composer's style of Luigi Cherubini - the nobility of melodic lines, the clarity of the harmonic language were further developed in the work of L. Beethoven. Ludwig van Beethoven (1770-1827) German composer and pianist. Born December 16, 1770 in Bonn. Beethoven holds a special place among the greatest creators of musical art. His music - of the new time - was born in the years illuminated by the light of the ideas of the French Revolution of 1789. A passionate champion of freedom, equality and fraternity, Beethoven put forward a new concept of the artist - the spiritual leader of mankind, an educator who transforms people's consciousness. Beethoven's music acquired features unknown to his predecessors - heroic pathos, rebellious spirit, intense drama, severe pathos. Beethoven came to art at a time of such an intensive development of instrumental genres that the history of music had not known before. His legacy includes 9 symphonies, the symphonic overtures "Leonore", "Coriolanus", music for the drama "Egmont", numerous piano opuses. Instrumental music took center stage and defined Beethoven's main contribution to the treasury of world musical culture. Among the composer's choral works are the oratorio Christ on the Mount of Olives (op. 85), three cantatas (op. 136), and the choirs "Calm at the Sea and Happy Sailing" (op. 112). A large place here is occupied by the choir with a double fugue in the finale of the Ninth Symphony, in "Fantasy for Piano, Choir and Orchestra", in the music for "The Ruins of Athens" (6 numbers) and for "King Stephen" (6 numbers), a smaller role is assigned to the choir in the opera Fidelio. The composer creates the most significant works in the "late Viennese period" - the years of Beethoven's personal tragedy, associated with inexorably progressing deafness. At this time, he created such masterpieces as the Solemn Mass in D-dur and the Ninth Symphony (1824) with its choral finale - Ode to Joy. In 1807 Mass C-dur (op. 86) was written for choir, four soloists (soprano, alto, tenor, bass) and orchestra. Fragments of the mass were first performed at the concerts of the Great Beethoven Academy on December 22, 1808. The Mass consists of five parts: Kyrie eleison (“Lord, have mercy”), Gloria (“Glory to God in the highest”), Credo (“I believe in one God”), Sanctus ("Holy is the Lord God of hosts"), Agnus dei ("Lamb of God"). Each of the five traditional pieces is a complete work of art. Reflections on man, life and death, time and eternity are embodied in the spiritual works of the composer. Beethoven's true religion was humanity, and he strove to read the traditional words of the mass in his own way, to find in them an echo of his own thoughts and feelings and what worried many of his contemporaries. The first part - Kyrie eleison - is a symbol of humility and hope. For most composers, this number sounds in minor, which is associated with the intonation of suffering. The more noticeable and significant is the appearance in Beethoven's "Kyrie" of not just a major, but C major - a light, transparent tonality. For Beethoven, turning to God is always enlightenment, and from this point of view, the first part of the Mass in C major can be considered one of the most sublime and poetic pages of world musical spiritual culture. Despite the traditional approach to the mass genre of the composers of that time, in this case we can distinguish special features: - a pronounced harmonic beginning, the exposition is a strictly outlined chorale (first section, bars 1-10); - Beethoven remains true to himself even in the cult genre, using contrast as the main principle of development: a) contrasting the texture of the choral ); polyphonic presentation is one of the important expressive means of conveying mood, revealing figurative content, serving the purpose of dynamization and activation of musical material; b) tonal juxtaposition (C-dur, e-moll, E-dur), and the tonality juxtaposition has a clearly “romantic” connotation; composers of the classical type are characterized by quarto-quint ratios; c) dynamics [p-/], registers, timbres of voices are also in contrast. The melodic beginning of Kyrie eleison is distinguished by Beethoven's characteristic purity and harmony of musical development, which is realized in diatonicism and the predominance of even progressive movement. The same clarity and transparency is characteristic of harmonic coloring. Beethoven definitely adheres to the classical canons of harmonic writing (bars 123-130). In vocal and symphonic works, Beethoven usually uses the choir as an organic part of the overall design, as one of the elements of orchestral sonority. The timbre colors of the choir emphasize either the light sound of female voices, or the velvety timbre of men, interspersed with the ensemble sound of the quartet of soloists, emphasizing the main idea: “Lord, have mercy! Christ, have mercy!" The tonality of C-dur, with which the work begins, fills it with a light, elegiac mood. A small climax at the end of the work does not violate its lyrical basis. The work is written in a three-part form with a varied reprise. The first part consists of two sections of the choral type (AB). The contrasting middle (bars 37-80) contains a polyphonic development and, as a prelude, a false reprise sounds (bars 71-82) in E-dur. This C-dur-E-dur tonal ratio is typical for romantic composers. The third movement (bars 84-132) is a reprise of the choral type, harmonic type. The finale of the work emphasizes the solemnity and, at the same time, the dramatic pathos inherent in the mass genre. It is characteristic that the choral part has a dominant ending - as an expectation of a prayerful appeal to God. The integrity of the performance of such a work as L. Beethoven's Kyrie eleison is not easily achieved. The conductor needs to overcome some fragmentation, discontinuity of presentation. A sense of form, the ability to purposefully perform such a large-scale composition in one breath, is especially important for a conductor. Attention should also be paid to the style features of the performance. Vocal presentation in the choirs of the Viennese classics in most cases is determined by the emotional, figurative structure of the music: the change in registers, tessitura of choral parts is directly related to the content of the text. The mood of peace, reflection and silence corresponds to the average tessitura and dynamics p, pp \ excited, pleading intonations are transmitted in high tessitura and dynamics / The presence of a quartet of soloists, the polyphonic interaction of soloists and the choir complicate the work on the system and ensemble of the work. Ladotonal comparison of C-dur-e-moll-E-dur also presents a certain intonational difficulty. The world of ideas and feelings of Beethoven's spiritual music is immensely wide. The sound of the choir helps the composer to embody deep philosophical ideas in his works. Beethoven's work completes the 18th century and goes beyond it, spreading its powerful influence on the new 19th century. Everything in it is unique and changeable, and at the same time imbued with reason and harmony. Beethoven, who was formed under the influence of the ideas of the Enlightenment and the French Revolution, embodied in his work the heroic impulse of mankind towards freedom, equality, and fraternity. Copyright OJSC "Central Design Bureau" BIBCOM " & LLC "Agency Book-Service" 21 and romantic features, which is very clearly reflected in his spiritual works. The first four masses (F-dur, G-dur, B-dur, C-dur) were Schubert's tribute to his first music teacher, Michael Holzer. These masses were first performed by the Lichtenstal church choir, in which Schubert sang in his childhood. Mass G-dur was created by the 18-year-old Schubert in early March 1815. Its score is modest both in volume and in the composition of the performers. Among them are three soloists (soprano, tenor, bass), a four-part mixed choir, string orchestra and organ. The music of the Mass enchants with amazing freshness, poetry and spirituality. The traditional Latin text is embodied here not in the usual monumental, but in a purely Austrian composer Franz Schu-chamber musical images, in many ways bert (1797-1828) - the "morning dawn" of the muse - approaching Schubert's songs. rock romanticism. The heritage of his composition music is a lyrical flow, each torus, who died at the age of 32, is enormous. the note of which is fanned by the breath of the living, Schubert wrote 10 symphonies, 600 songs of quivering, open feeling. Like song and music of other genres. Schubert's lyrics are able to give the text wings, so pure and direct, it is not without reason that in the composer's opinion, and in sacred music for a long time it has become a measure of sincerity, the text is the channel for further deepening simplicity in art. For Schubert, the expression of feelings, spiritualized communication with the expression of feelings in music is singing. man. At the same time, Schubert's romanticism is closely related to Franz Schubert's choral works, one of the most interesting sections of it is associated with classicism. Haydn's heritage, creative heritage. Peru for the composer Mozart, Beethoven for the composer - this belongs to over a hundred choirs and vocal not the past, but always the present. From here - ensembles for mixed choir, male and appeal to the classical world of images of female voices acappella and accompanied by their romantic interpretation in spiritual denia. Among them are six Masses, “German Music. Requiem”, “German Mass” and other duos The first part of the Mass G-dur - Kyrie eleichovye compositions, partly preserved son - was written for soprano solo and mixed panorama “Lazarus”, cantata “Victory song of the choir. Unlike most of the Kyrie in Miriam, the "Song of the Spirits over the Waters" at the masses, where this part has Goethe's usually stern text. Of considerable interest in creative coloring, here it is lyrically light and Schubert's heritage is transparent. choirs for male voices(there are about fifty choirs in a small number written in three parts). They are a witness to the form: the extreme parts are performed by the choir, they testify to the deep connection of the composer with the middle part (Christe eleison) - a soprano solo with ensemble singing divisions (leadertafel). final polyphonic phrases The originality of the author's creative method with the sosa-replicas of the choir, which serve the purpose, stands in the art of interlacing classical music dynamization. Franz Schubert, who survived him by only a year, belonged to another generation. Reaction reigned in Europe, strangling everything bold and progressive. The new generation lost faith in the possibility of rebuilding the world. In this difficult situation, romanticism was born - the art of disappointment, dissatisfaction, doubt. Romantics argued that each person is unique, contains a whole world - unknown, and sometimes mysterious; there is no higher purpose for art than to explore this richest world feelings. Mind should not be the measure of everything that exists, but emotion is the finest tool in understanding the world. The artist himself becomes the hero, art acquires features of autobiography, turns into a lyrical diary. Copyright OJSC "Central Design Bureau "BIBCOM" & LLC "Agency Book-Service" 22 Measured and calm movement of choral chords in the middle tessitura, moderate dynamics and tempo (Andante con moto), light G-dur, soft harmonies, smooth texture of accompaniment - all this creates a lyrically enlightened mood (bars 1-28). The theme takes place in the soprano part in tenth with bass, the choir is doubled by the orchestra. The beautiful expressive soprano melody in the middle part has the character of a gentle complaint-plea. This is facilitated by modal contrast (a-moll), descending intonations, soft endings on a weak share. Kyrie's music is filled with love and bright faith. In creating the elegiac mood of this number, the role of accompaniment is very significant, it forms a single, through background. In general, the whole emotional tone of this work is far from the prayerful asceticism of the text. The conductor should pay great attention to the dynamic flexibility of performance, the ability to sing softly and lightly with a sense of breath support. In the polyphonic episode (bars 47-60) one should pay attention to the repeated moves for a small second. This technique is used to express suffering. An important component of the choirmaster's work is the achievement of the ensemble in choral parts. The music of the G-dur Mass is inspired by a romantic worldview, permeated with a lyrical feeling, but at the same time, a certain restraint must be maintained in its performance, corresponding to the sublime content. Cantata 6 "Stabat mater" 7 is a real gem of choral art. It sounds Schubert's inherent sincerity, immediacy and emotionality of expression, melodic simplicity and clarity. The cantata consists of twelve numbers, written for mixed choir, soloists (soprano, alto, tenor) and orchestra. The reader contains three numbers from the cantata: No. 1 - Choir, No. 3 - Chorus, No. 11 Tercet and Chorus. Franz Schubert writes to his brother Ferdinand on July 13, 1819: “I am actually writing to you so that you send me the Stabat mater as soon as possible, which we want to perform here ... Yesterday, the twelfth, there was a very strong thunderstorm here, lightning struck in Steyr, killed a girl...” It is known that Schubert wrote two spiritual compositions “Stabat mater”. The letter meant a work written on February 28, 1816 for a Protestant service and performed in German (author of the translation F. Klopstock). It was supposed to be performed at a memorial service for a girl who died during a thunderstorm. The song text of the cantata has 20 three-line stanzas. "Stabat mater" was intended for the feast of the Seven Sorrows of the Virgin (September 15), in 1727-1920. served also for the holiday of the same name, celebrated on Friday of Holy Week. Separate passages were used for other holidays. The genre basis of "Jesus Christus" (No. 1) is the synthesis of chorale and funeral march (f-moll). Emphasized adherence to strict tragic writing and the falling movement of the melody are combined with the mournful figurations of the accompaniment. All these means create a mood of painful reflection, sad immutability. This is a kind of epigraph to the cantata "Stabat mater". Jesus Christus schwebt am Kreuze! Blutig sanksein Haupt herunter, blutig in des Todes Nacht. 6 Cantata (Italian cantare - to sing) - a work for solo singers, choir and orchestra, solemn or lyrical-epic character. It usually differs from other major choral forms by its smaller size, uniform content, and less developed plot. 7 Stabatmater (lat. Stabat mater dolorosa - standing Mother grieving) - the initial words of a Catholic hymn, a sequence dedicated to the image of the Mother of God, standing near the crucified Christ. There are many works on this text such as motet, later cantata (works by Pergolesi, Rossini, Verdi, Poulenc, Dvorak, Serov, and others). Copyright JSC "Central Design Bureau "BIBCOM" & LLC "Agency Book-Service" 23 Translated from German language gives the following content: "Jesus Christ crucified on the cross, bleeding in the deadly night." The poem “Stabat mater” by A. A. Fet will help to emotionally reveal the image of the work. His poetic stanzas sound heartfelt: The grieving mother stood And in tears looked at the cross, On which the Son suffered. A heart full of excitement, Sighs and languor The sword in her chest pierced her. For the sake of sinful atonement She sees Christ's torment From the scourges of the future. He sees the dear Son, How his death oppresses the spirit of his betrayer. From the first chords, one can clearly feel the individuality of Schubert's harmonic language with its penchant for such techniques as: - the subtlest harmonic transitions that provide the chromatic movement of the bass from the first measures of the work (movement in small seconds is a sign symbol of suffering); - dissonant subdued sounds, all the main functions are surrounded by a subdued seventh chord (bars 3-6). The first choir is written in a simple two-part form. The presentation of the theme by the orchestra and choir in the first part is emphatically harmonic. The appearance of harmonic figuration enhances the melody of the melody. The second part begins with a sharp dynamic and textural contrast (imitation of voices). Schubert's characteristic abrupt change in dynamics (bars 16-17) conveys tragedy and dramatic tension musical image works. The third issue of "Liebend neiget er sein Antlitz" is different in every respect. The tonal color changes, Ges-dur appears - one of the lightest tonalities. Easy downward movement of the melody, genre basis, democratic song, Andante tempo. The soft Schubert lyricism paints the melody in special, gentle tones inherent only to him. The simple form of the period is emphatically transparent. The harmonic instability of the first number is opposed by the functional certainty provided by the ostinato in the bass. Quarto-fifth ratios predominate in harmony. Liebend neiget er sein Antlitz: du bist dieses Sohnes Mutter! Und du die Mutter Sohn. “With love He bows His forehead before His Mother. You are the Son of this Mother...”, - such is the content of this heartfelt number. It corresponds to the verses of A. Fet: Mother, love is an eternal source. Give me tears from the depths of my heart to share with you. Give me fire, so much - Love Christ and God, So that He is pleased with me. The eleventh number of the cantata is the tercet and chorus "Dafi dereinst wir, wenn im Tode". This is a meditation on life and death. DaB dereinst wir, wenn im Tode wirentschlafen, dann zusammen droben unsre Briider sehn, daft wir, wenn wir entschlafen, ungetrennet im Gerichte droben unsre Briider sehn. “Who are we? If we rest in death, will we stand before the judgment of our Lord? What am I pathetic going to say then? What intercessor will I turn to when the righteous is delivered from fear? It is not by chance that the composer chooses the following performing staff: tercet (soprano, tenor and bass), mixed choir and orchestra. The main theme is presented by the trio and the orchestra in order to create a color of detachment and enlightened oblivion. Barcarolle genre basis (size 3/4) together with light coloring, transparent timbre of woodwind instruments create an enlightened mood, full of love and spirituality. The texture of the trio parts can be interpreted in two ways: on the one hand, the genre of the mass dictates a polyphonic basis, on the other hand, a clear crystal basis of the harmonic warehouse can be traced. It seems very important that for this religious text the composer offers a melody based on the intonations of the romance (wide use of sixth and third intonations), which is why dance and waltz are so organically added to the romance. These features make the Terzet and F. Schubert's choir unique among German music, imparting to it the warmth, penetration and humanity that are so characteristic of the composer. The form of the work - two-part non-reprise - is dictated by the philosophical meaning of the text. At the same time, the first part is written in a stable three-part form (ABA), with a middle of the “episode” type, which subsequently forms the character and intonational language of the second part of the work. A (p. 1-12) F-dur B (p. 13-28) f-moll-B-dur-Es-dur-C-dur A (bars 29-44) F-dur Instability, broken intonation of the median section, the predominance of a second progressive movement contrasts sharply with the waltz intonation of the first movement, creating a feeling of numbness and detachment (bars 13-28). Movement two (bars 46-74), polyphonic in texture and more restrained in terms of expression, symbolizes calm. The imitative statements of the soloists and the choir are of a question-and-answer nature. The voices of the soloists soaring upward into a high tessitura (bars 68-69, 71-72) symbolize spiritual liberation, they sound light and quiet at the end of the work. In A. Fet's poem "Stabat mater" the following stanzas correspond to tercet: Let my cross multiply my strength. Let the death of Christ help me With zeal for the poor. As the body cools down in death, So that my soul soars To the reserved paradise. The quality performance of this work requires a lot of preparatory work. Of the technical difficulties, we single out: - the complex choral texture of the work, which is well audible under the condition of the expressive sound of each voice; - an ensemble of soloists and a choir, creating a transparency of texture and unity in chords; - flexible and smooth sound guidance; - legato in combination with virtuoso performance in sixteenth durations (bars 10, 36, 54); - transparency and lightness of sounding in high tessitura in the nuance of pp (bars 9.72). Overcoming these difficulties should be subordinated to the main task - the creation of a bright, sublime musical image. The tercet and the choir are an example of Schubert's perfect and chaste lyrics. It plunges into the world of beautiful dreams, far from earthly hardships. This type of utterance is typical of Romantic art. The choral works created by Franz Schubert sound like a penetrating monologue, like a lyrical confession of his soul. “What an inexhaustible wealth of melodic invention!.. - wrote P. I. Tchaikovsky. “What a luxury of fantasy and a sharply defined identity.” The music of D. Bortnyansky, O. Kozlovsky appears before us in the embodiment of the contradictory aspects of being, the tragic collisions of the spirit. The music of composers S. Rachmaninoff and P. Chesnokov. Strict and elevated structure of feelings determines the emotional atmosphere of sacred music by L. Beethoven, L. Cherubini. The music of F. Schubert is directed towards the light of lyrical sincerity and hope. Thus, the spiritual greatness of man is shown here in all its complexity and diversity. Each of the composers discussed in the tutorial created his own unique artistic world in music. The study and performance of sacred music by Russian and foreign composers will serve as an incentive to improve the choral skills of student groups. Copyright OJSC "Central Design Bureau "BIBCOM" & LLC "Agency Book-Service" 26 CONCLUSION The textbook "Sacred music in the work of Russian and foreign composers" in the choral class discipline is aimed at the development of cognitive and concert activities of students. This publication can be used in various forms of study: - in independent work students; - when studying methodological and musical material at the lessons of the choir class and conducting, including when preparing for the state exam in conducting and working with the choir. In addition, the manual will be useful in the lessons of related theoretical disciplines (harmony, analysis of musical works, the history of choral creativity, the history of music, methods of working with the choir, etc.). In modern musical pedagogy, one should note the desire of choir conductors to expand and practically rethink the pedagogical repertoire. An experienced teacher, choirmaster always has a repertoire that becomes the basis for his activities. We hope that other inquisitive, interested choirmasters will continue this work, will bring their vision of this problem into it. The textbook "Sacred Music in the Works of Russian and Foreign Composers" will help students-choirmasters to better imagine the style of each composition and expand their knowledge of the history of Russian and foreign choral music, as well as help prepare selected works for performance at the state exam in the section "Chorus Conducting" ". We express our sincere gratitude to the colleagues who participated in the writing study guide, as well as students, whose attitude to choral creativity served as an incentive for the creation of this work. Copyright JSC "Central Design Bureau "BIBCOM" & OOO "Agency Kniga-Service" 27 QUESTIONS AND TASKS FOR SELF-TESTING SPIRITUAL MUSIC IN THE CREATIVITY OF RUSSIAN COMPOSERS SPIRITUAL MUSIC IN THE CREATIVITY OF FOREIGN COMPOSERS DS Bortnyansky L. Cherubini 1. What is the innovation of the composer's choral creativity ? 2. Name the features of Russian 1. What was the evolution of the mass genre of the late XVIII - early XIX centuries? 2. Determine the style of choral writing (on the example of Introitus from Requiem in c-moll by L. Cherubini). 3. Indicate possible difficulties in working on nuances (on the example of Introitus from Requiem in c-moll by L. Cherubini). liturgical singing. 3. On what traditions is the choral work of D. Bortnyansky based? 0. A. Kozlovsky 1. List the distinctive features of the liturgical genres of requiem and liturgy. 2. Name the main parts of the requiem. 3. Describe the style of choral writing in "Dies irae" from Requiem c-moll 0. Kozlovsky. 4. Indicate the possible difficulties in working on the choral system in "Salve Regina" from O. Kozlovsky's Requiem in c-moll. P. G. Chesnokov 1. Expand the meaning of the words: “antiphon”, “stichera”, “litany”, “troparion”. 2. Indicate which part leads the main melodic line in the first sentence of the choir “Glory to the Only Begotten Son” from the Liturgy, op. 9. 3. Name the types of the choral ensemble in the work “Quiet Light”. 4. What are the features of working on the system in two-cornered works (using the example of “Quiet Light”). 5. What are the textural features in the work “May my prayer be corrected”? S. V. Rachmaninov 1. What type of ancient Russian singing is close to the choral style of S. Rachmaninov (on the example of the choir “Virgin Mary, Rejoice”)? 2. Analyze the type of breathing in S. Rachmaninov's choral works. 3. Describe the features of voice leading in the choir "Virgin Mary, rejoice." L. Beethoven 1. What are the genres of world musical art, the development of which was facilitated by the work of the composer L. Beethoven? 2. Describe the meaning of the choir in the vocal and symphonic works of L. Beethoven. 3. Determine the features of the choirmaster's work on polyphony in "Kyrie eleison" from L. Beethoven's Mass in C-dur. F. Schubert 1. Describe the features of romanticism inherent in the sacred music of F. Schubert (on the examples of "Kyrie eleison" from the Mass in G-dur and the cantata "Stabat mater"). 2. Identify intonational difficulties in the part of the second violas and find ways to overcome them in the work (using the example of "Liebend neiget er sein Antlitz" from the cantata "Stabat mater" by F. Schubert). 3. Determine the tasks for working on the choral ensemble in "Dafi dereinst wir, wenn im Tode" from the cantata "Stabat mater" by F. Schubert. Copyright JSC "Central Design Bureau "BIBCOM" & OOO "Agency Book-Service" 28 REFERENCES BASIC 1. Aleksandrova, V. Luigi Cherubini / V. Aleksandrova // Council, music. - 1960. - No. 10. 2. Alschwang, G. A. Beethoven / G. A. Alschwang. - M., 1966, 1971. 3. Asafiev, B. V. Memo about Kozlovsky: fav. tr. / B. V. Asafiev. - M., 1955. - T. 4. 4. Belza, I. F. History of Polish musical culture / I. F. Belza. - M., 1954. - T. 1. 5. Vasilyeva, K. Franz Schubert: a brief essay on life and work / K. Vasilyeva. - L., 1969. 6. Givental, I. A. Musical literature / I. A. Givental, L. D. Schukina. - M., 1984. - Issue. 2. 7. Grachev, P. V. O. L. Kozlovsky / P. V. Grachev // Essays on the history of Russian music 1970-1825. - L., 1956. - S. 168-216. 8. Grubber, R. History of musical culture / R. Grubber. - M., 1989. - V. 2. 9. Keldysh, Yu. Essays and research on the history of Russian music / Yu. Keldysh. - M.: Council, composer. - 1978. 10. Keldysh, Y. Russian music of the XVIII century / Y. Keldysh. - M „ 1965. 11. Kochneva, I. S. Vocal Dictionary / I. S. Kochneva, A. S. Yakovleva. - L.: Music, 1986. 12. Kravchenko, T. Yu. Composers and musicians / T. Yu. Kravchenko. - M.: Astrel, Ermak, 2004. 13. Kremnev, B. Schubert / B. Kremnev. - M.: Young Guard, 1964. 14. Levashov, O. History of Russian music / O. Levashov. M., 1972. - T. 1. 15. Levik, B. Franz Schubert / B. Levik. - M., 1952. 16. Lokshin, D. L. Foreign choral literature / D. L. Lokshin - M., 1965. - Issue. 2. 17. Men, A. Orthodox worship. Sacrament, word and image / A. Men. - M., 1991. 18. Myths of the peoples of the world: encyclopedia / ed. S. Tokarev. - M., 1987. Copyright OJSC "Central Design Bureau" BIBCOM " & LLC "Agency Book-Service" 19.1 Musical Encyclopedic Dictionary / ed. G. V. Keldysh. - M., 2003. 20. Monuments of Russian musical art. - M "1972. - Issue. 1. 21. Preobrazhensky, A. V. Cult music in Russia / A. V. Preobrazhensky. - M., 1967. 22, Prokofiev, V. A. Kozlovsky and his "Russian Songs" / V. A. Prokofiev // History of Russian music in musical samples. - L., 1949. - T. 2. 23. Protopov, V. Western European music of the XIX - early XX centuries / V. Protopov. - M., 1986. 24, Rapatskaya, L. A. History of Russian music: from Ancient Russia to the "Silver Age" / L. A. Rapatskaya. - M.: VLADOS, 2001. 25, Romanovsky, N.V. Choral Dictionary / N.V. Romanovsky. - A., 1972. 26, Skrebkov, S. Russian choral music of the 17th - early 18th centuries / S. Skrebkov. - M., 1969. 27. Aesthetics: dictionary / ed. ed. A. Belyaeva et al. - M., 1989. ADDITIONAL 1. Aliyev, Yu. B. Handbook of a school teacher-musician / Yu. B. Aliyev. - M.: VLADOS, 2002. 2. Matrosov, V. L., Slastenin, V. A. New school - a new teacher / V. L. Matrosov // Ped. education. - 1990. - No. 1. 3. Mikheeva, L. V. Dictionary of a young musician / L. Mikheeva. - M.: ACT; SPb. : Owl, 2005. 4. Naumenko, T. I. Music: 8th grade: textbook. for general education textbook institutions / T. I. Naumenko, V. V. Aleev. - 2nd ed., stereotype. - M.: Bustard, 2002. 5. Matthew-Walker, R. Rachmaninov / R. Matthew-Walker; per. from English. S. M. Kayumova. - Chelyabinsk, 1999. 6. Samarin, V. A. Choir studies and choral arrangement: textbook. allowance for students. higher ped. textbook institutions / V, A. Samarin. - M.: Academy, 2002. Copyright OJSC Central Design Bureau BIBCOM & LLC Agency Book-Service Copyright OJSC Central Design Bureau BIBCOM & LLC Agency Book-Service Copyright OJSC Central Design Bureau BIBCOM & LLC Agency Book -Service" Copyright OJSC "Central Design Bureau "BIBCOM" & LLC "Agency Kniga-Service" Copyright OJSC" Central Design Bureau "BIBCOM" & LLC "Agency Book-Service" Copyright OJSC "Central Design Bureau "BIBCOM" & LLC "Agency Book-Service" Copyright OJSC BIBCOM Central Design Bureau & Book-Service Agency Ltd. t Copyright BIBCOM Central Design Bureau & Kniga-Service Agency Ltd. 37 Copyright BIBCOM Central Design Bureau & Kniga-Service Agency Ltd. Copyright JSC Central Design Bureau " BIBCOM & LLC Book-Service Agency Copyright JSC Central Design Bureau BIBCOM & LLC Agency Book-Service Copyright JSC Central Design Bureau BIBCOM & LLC Agency Book-Service 41 O. Kozlovsky. 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In 19th-century Russia, the work of Russian composers, even such a popular one as Tchaikovsky, remained the property of a relatively narrow circle of contemporaries. The only sphere of music, to which all estates without exception were attached, each person individually, was the music that sounded in the church. In an Orthodox church, as you know, it is choral, without instrumental accompaniment.

But, as always with Tchaikovsky, there were also reasons of a deeply personal nature, related to the field of moral quest. From skepticism in relation to religious dogmas, he more and more - especially during the creation of the Vigil - gravitated towards Christian values. "... The light of faith penetrates into my soul more and more, ... I feel that I am more and more inclined towards this only stronghold of ours against all disasters. I feel that I am beginning to be able to love God, which I did not know before ". The image of Christ was alive and real for the composer: "Although He was God, but at the same time a man, He suffered, like us. We pity him, we love his ideal human sides in him," - this is a diary entry, an entry for himself.

Tchaikovsky, by his own admission, sought to overcome the excessive "Europeanism" instilled in Russian church singing at the end of the 18th - the first half of the 19th century, which, according to Pyotr Ilyich, "does not harmonize much with the Byzantine style of architecture and icons, with the whole structure of the Orthodox service!" The composer strove to "preserve the ancient melodies in all inviolability", wanted to return liturgical singing to its original origins, "to return its property to our church".

The Liturgy of St. John Chrysostom, and then other spiritual works by Tchaikovsky, began to be performed outside the church in concerts. This fact, initially met with disapproval by a part of society, marked the beginning of a fruitful tradition, continued by S.V. Rakhmaninov, V. Kastalsky, dozens of other authors and - after a long break - revived in Russia today.

L. Z. Korabelnikova

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