«Обертоны» романтической баллады в творчестве современных композиторов Кубани (на примере произведений Константина Пашкова)

Abstract

В статье рассматривается трансформация жанра романтической баллады в творчестве современного краснодарского композитора К. Пашкова. Во главу угла ставится когнитивный подход к жанру, который позволяет приблизиться к его архетипу, а затем проследить возможные пути деканонизации сложившейся жанровой формы. Опираясь на методы историко-культурологического, музыковедческого, а также сравнительного анализа делается вывод о трансляции жанровой модели романтической баллады за пределами XIX столетия. Введение в научный обиход цикла Пять пьес для струнного оркестра направлено на популяризацию творчества молодого талантливого композитора Кубани.The sociocultural existence of the genre outside its era is a problem that will never lose its relevance. In fact, the secondary use of the genre in various cultural texts is nothing more than an indicator of the viability of the morphological system of art. In the article, considering the transformation of the romantic ballad in modern culture, the author reveals the genre canon of the ballad, hidden in the depths of the authors layer of the work and turned into an image of the genre. To reconstruct the genre archetype of the ballad, its reference points are distinguished, which perform representative functions in the artistic culture. These include: the general intonation of the genrefear and sufferingarising from the invasion of the world of the dead into the world of the living plot motifs of love-in-death and fate the presence of two worldshere and beyond, which suggests a tragic outcome the character frame, consisting of a foreign alien, his beloved and a narrator compositional and dramatic balance of power corresponding to six plot functions (violation of the ritual taboo invasion of a foreign alien meeting of two worlds interaction of the worlds return of the alien wedding-funeral). The author chose the cycle Five Pieces for a String Orchestra, the work of the modern Krasnodar composer Konstantin Pashkov, as a vivid example illustrating the prolonging tendencies of the romantic ballad. Each piece of the cycle has a programmatic or genre title: No. 1 Volands Ball, No. 2 Ostinato, No. 3 Elegy, No. 4 Trioline, No. 5 Flying past Ireland. The self-explanatory names of plays 1 and 5 of the cycle send the listener to steady images, symbols of a romantic culture, in which the ball at the Satans was associated with the mythology of the Sabbath. As for the other three plays (Ostinato, Elegy and Trioline), their arrangement corresponds to three functions: invasion of a foreign alien (Ostinato), meeting of two worlds (Elegy) and return of the alien (Trioline). In the context of the whole cycle, the final piece, Flying past Ireland, is perceived as the final chord of evil spirits flying away. Thus, there is every reason to assert that the contours of the ballad genre in the Five Pieces for a String Orchestra by Pashkov are recognised at the level of a number of reference genre points. Firstly, in the depths of the subtext layer, the plot of the taboo ballad is hidden. Secondly, typical ballad motifs show through it. Thirdly, at the intonational-musical level, the main ballad characters are read. Finally, the compositional and dramatic organisation of the cycle has signs of a narrative ballad form: a prologue, a series of events enclosed in a triptych, and an epilogue. All of the above indicates that the genre of the romantic ballad is played out again in the works of modern composers. It was possible to identify the configuration of the genre signs of the ballad in the context of modern culture in the paradigm of cognitive poetics by restoring the archetypal ballad plot.