Особливості театральності та театралізації камерно-вокального циклу на вірші Едуарда Мьоріке в творчості Гуго Вольфа

Abstract

Research objective. The aim of the work is an investigation of the peculiarities of theatricality and theatricalization of the chamber-vocal cycle based on the poems of Eduard Mörike in Hugo Wolf’s work. The research methodology is based on musicological research, as well as systematic-analytical, comparative, and comparative-typological methods. This methodology eases the revelation of the peculiarities of theatricality and theatricalization of the chamber-vocal genre in Wolf’s work, as well as the general and distinctive features of these concepts and the principles of their use in the vocal cycle Mörike’s Poems for Solo Voice and Piano, Set to Music by Hugo Wolf. The scientific novelty is a substantiation of the principles of theatricality and theatricalization as defining in Wolf’s creative method, revealed in all the figurative manifestations of the cycle through special, specific verbal-musical characteristics. Conclusions. It was found that theatricality and theatricalization became one of the general themes associated with the search for new artistic phenomena – a synthesis of arts inspired by the artists of the era of Romanticism. It has been determined that theatricality and theatricalization are conditional artistic quality, an extra-musical principle, which testifies to the internal connection of music with theatrical art and makes it possible to manifest them at different stages of musical creation – composition, interpretation, reception. It is proved that, following the path of theatricalization of the song genre, Wolf goes beyond the traditional chamber-vocal lyrics and combines a complex of “dramatic” and “lyrical” means within the framework of a new type of vocal-poetic composition. First of all, this consists in replacing the “I” of the lyrical hero with the “not I” of another subject (character), which contributes to the penetration of acting and theatrical illusion into the chamber-vocal genre. The cycle Mörike’s Poems for Solo Voice and Piano, Set to Music by Hugo Wolf shows the characteristic features of the composer’s style and the principles of theatricalization used by him. These principles include polyphonic interaction of musical-poetic images in their integrity, imparting properties inherent in theatrical performance to works; use of the cross-cutting symphonic development of thematic within the framework of vocal miniatures with the involvement of a complex of musical expressive means aimed at creating the effect of various types of depiction; attraction of various forms of monologic and dialogic utterance (from monologues and characteristicportrait sketches to songs of a proper dialogical stamp); cross-cutting development of the plot, dialogueness, and poeticness, recitative-declamatory principle in combination with the growing role of accompaniment, attitude to the word, visibility of movement and gesture, from which the theatricalization of the chamber-vocal genre arises. Hugo Wolf’s use of such principles testifies to the reading of musical-poetic texts in line with the tendencies of romantic tension, theatricality/theatricalization, and psychologism.