К проблеме воплощения богослужебного текста в духовной музыке А. Д. Кастальского (на примере тропарей)

Abstract

The article is devoted to the methods of musical representation of the content of the liturgical text in the spiritual choral music of A. D. Kastalsky. The creative path of this outstanding musician, his aesthetic views, the main features of the composer's style have been largely studied by now. However, the methods of Kastalsky's refraction of the theological aspects of chants in Russian musicology have not yet been purposefully studied. This article aims to consider specific methods of musical embodiment of liturgical texts in Kastalsky's choral compositions. His polyphonic adaptations of several Znamenny chant troparia are used as material.The methodological base of the presented article is multi-component. The authors are guided by the original analytical technique of Prot. Michael Fortunato, to some extent refract the analytical experience of Prot. Sergius Pravdolyubov. The main methodological basis is the concepts developed by the musical scientists of the scientific school of the Moscow Conservatory - A.N. Myasoedov, V.V. Protopopov, Yu.N. Kholopov and their followers. In particular, the concept of tonal states is widely invoked.The analysis of selected znamenny arrangements of tropar chants includes several aspects, such as: slogo-rhythmic modeling of a verbal text; reduction of the melodic structure of Znamenny chants and understanding of their logic depending on the verbal content; clarification of the relationship of textural, timbre and harmonic features with significant fragments of the text. The authors come to the conclusion that Kastalsky is constantly striving for coloristic, sonant marking of all essential images of the liturgical text, and thereby creates an emotionally rich "translation" of the ancient monodic chant into the modern language of full-sounding polyphony.