Found Sacred Concerts of D. Bortniansky in the Context of the Traditions of Solo Vocal Performance
Description
The purpose of the article is to study and introduce into scientific and public circulation the found sacred concerts of D. Bortniansky in the context of the traditions of solo vocal performance of the Classical period. The research methodology is based on historical, source-based, and analytical approaches. The historical method makes it possible to study the process of D. Bortniansky creation of sacred concerts and identify the reasons for the appearance of solo and ensemble structures in them. The source-based method allows us to outline the ways of the modern search for unknown concerts of the composer. The analytical method provides grounds to study the features of solo and ensemble structures, their genesis, and performing purpose. The scientific novelty of the article is to introduce into scientific circulation the found choral concerts of Dmitry Bortniansky, which were not included in the lifetime edition of the composer’s musical works and were not the object of scientific research. The analysis of the found concerts of D. Bortniansky leads to the conclusion that they clearly show signs that indicate trends of solo vocal performance. They are concentrated in solo and ensemble structures, which form contrasting comparisons with choral tutti. In the analysed concerts, which are an example of two types of concert cycle structure, ensembles of soloists first appear in slow parts: either in the second part, if the cycle begins with a fast tutti, and the sacred concert is festive and solemn, or in the first part (from the very first bars), if the cycle begins with a slow part and the sacred concert is lyrical and dramatic. The peculiarities of the cycle also affect the nature of the melody of solo and ensemble structures, primarily the interpretation of the soprano part. In concerts of the first type, the melody is generalised and more neutral, and the constructions themselves inherit the traits of cantus, while in concerts of the second type, the melody of the soprano solo part is close to the opera, and the presentation — to the duet. Despite the signs of solo vocal performance, in particular opera melody, the solo constructions of the analysed sacred concerts of D. Bortniansky may well be performed not by opera soloists, but by choristers. However, in the performance of soloists, the sound of ensembles will acquire a special depth and expressiveness.
Files
Found_Sacred_Concerts_of_D_Bortniansky_in_the_Context_of_the_Traditions_of_Solo_Vocal_Performance.pdf
Files
(1.0 MB)
| Name | Size | Download all |
|---|---|---|
|
md5:d3ae9d0f4a55da23c58f42a408664dda
|
1.0 MB | Preview Download |
Additional details
References
- Asafyev, B. (1927). Ob Issledovanii Russkoi Muzyki XVIII Veka i Dvukh Operakh Bortnyanskogo [On the Study of Russian Music of the 18th Century and Two Operas by Bortnianskyi]. In State Institute of Art History, Muzyka i Muzykal'nyi Byt Staroi Rossii: Materialy i Issledovaniya [Music and Musical Life of Old Russia: Materials and Research] (pp. 7-29). Asademіa [in Russian].
- Bortnyansky, D. S. (2009). Neizvestnye Dukhovnye Kontcerty: Dlia Smeshannogo Khora bez Soprovozhdeniia [Unknown Sacred Concerts: For Mixed Choir Unaccompanied] (A. V. Lebedeva-Emelina, Ed.) [Musical score]. Muzyka [in Russian].
- Ivanov, V. (1980). Dmytro Bortnianskyi. Muzychna Ukraina [in Ukrainian].
- Khivrych, L. (1971). Fuhatni Formy v Khorovykh Kontsertakh D. Bortnianskoho [Explosive Forms in Choral Concerts of D. Bortnianskyi]. Ukrainske Muzykoznavstvo [Ukrainian Musicology], 6, 201-215 [in Ukrainian].
- Kornii, L. (1998). Istoriia Ukraiinskoi Muzyky [History Of Ukrainian Music] (Pt. 2). Vydavnytstvo M. P. Kots [in Ukrainian].
- Kostiuk, N. (2003). Dmytro Bortnianskyi i Ukrainska Kultovo-Relihiina Tradytsiia [Dmytro Bortnianskyi and Ukrainian Cult-Religious Tradition]. Visnyk Derzhavnoi Akademii Kerivnykh Kadriv Kultury i Mystetstv [State Academy of Managerial Staff of Culture and Arts Herald], 1, 67-81 [in Ukrainian].
- Kovalev, K. (1998). Bortnianskyi (2nd ed.). Molodaya gvardiya. (Zhizn' Zamechatel'nykh Lyudei; Iss. 701) [in Russian].
- Mikhailenko, A. (1985). Fugirovannye Formy v Tvorchestve D. Bortnianskogo i Ikh Mesto v Istorii Russkoi Polifonii [Fugue Forms in the Works of D. Bortnianskyi and Their Place in the History of Russian Polyphony]. In V. Protopopov (Ed.), Voprosy Muzykalnoi Formy [Musical Form Issues] (Iss. 4; pp. 3-18). Muzyka [in Russian].
- Rozanova, Yu. A., Sorokina, E. G., & Skvortsova, I. A. (Eds.). (2003). Bortnyanskii i Ego Vremya. K 250-letiyu so Dnya Rozhdeniya D. S. Bortnyanskogo [Bortnianskyi and His Time. To the 250th Anniversary of the Birth of D. Bortnianskyi], Proceedings of the International Conference. (Nauchnye trudy Moskovskoi Gosudarstvennoi Konservatorii im. P. I. Chaikovskogo; Iss. 43) [in Russian].
- Rytsareva, M. (1979). Kompozitor D. S. Bortnyanskii: Zhizn' i Tvorchestvo [Composer D. Bortnianskyi: Life and Work]. Muzyka [in Russian].
- Rytsareva, M. (2015). Dmitrii Bortnyanskii: Zhizn' i Tvorchestvo Kompozitora [D. Bortnianskyi: The Life and Work of the Composer] (2nd ed.). Kompozitor [in Russian].
- Vikhoreva, T. (2010). Struktura Muzykal'nykh Tekstov Khorovykh Proizvedenii D. S. Bortnyanskogo [The Structure of Musical Texts of Choral Works by D. Bortnianskyi]. MUSICUS, 5, 21-25 [in Russian].
- Vikhoreva, T. G. (2007). Khorovye Kontserty D. S. Bortnyanskogo [Choral Concerts of D. Bortnianskyi] [Abstract of PhD Dissertation, Rimsky-Korsakov St. Petersburg State Conservatory]. Library of the St. Petersburg State Conservatory [in Russian].
- Yefymenko, A. (2004). Volfhanh Amadei Motsart ta Dmytro Bortnianskyi: Khudozhno-Filosofski ta Stylovi Paraleli [Wolfgang Amadeus Mozart and Dmytro Bortnianskyi: Artistic, Philosophical and Stylistic Parallels]. Zapysky Naukovoho Tovarystva imeni Tarasa Shevchenka [Notes of the Shevchenko Scientific Society], 247, 185-198 [in Ukrainian].
- Zavodnova, L. A. (2002). D. S. Bortnianskyi u Spohadakh Suchasnykiv ta Naukovtsiv [D. Bortnianskyi in the Memoirs of Contemporaries and Scientists]. In V. I. Bielashov (Ed.), Zberezhennia Istoryko-Kulturnykh Nadban Hlukhivshchyny [Preservation of Historical and Cultural Heritage of Hlukhiv Region], Proceedings of the 1st Scientific and Practical Conference (pp. 49-53). RVV HDPU [in Ukrainian].