ПСАЛМОВІ ТЕКСТИ В УКРАЇНСЬКОМУ ДУХОВНОМУ КОНЦЕРТІ ДОБИ БАРОКО І КЛАСИЦИЗМУ: МИСТЕЦЬКІ ПАРАЛЕЛІ

Abstract

The purpose of the article is to identify common and distinctive features, to determine artistic parallels in the choral sacred music of the Baroque and Classicism through the prism of using psalms of texts. Research methods are used by researcher at the represented scientific article the next, a namely historical-typological, stylistic, structural-analytical, and comparative. Scientific novelty. For the first time, it is traced how the principle of selection of psalm lines affects the compositional structure and content of concerts. Conclusions. Analysis of the material of East Slavic spiritual chants using the example of the genre of a choral concert in its baroque and early classical varieties allows us to make some generalizations on the use of psalm texts. In the selection of psalm texts for concerts from the handwritten set of the Mikhailovsky Monastery, the main tendencies characteristic of European church music are noted. Among the verbal texts, we can find psalms in fragmentary liturgical use, contamination of separate lines of one or different psalms, and with other texts. Note, however, that when writing concertos on selected lines from the psalms, priority is given to the opening passages of the psalms. Poetic versions of the psalms are also found, but it is unlikely that they were intended for church use. The principle of grouping the psalms of the lines influenced the form of choral concerts, where the desire for isolation is traced: in the partisan version, the text-musical lowercase contrasting-composite form acquires features of reprisal (figurative, and at times also intonational), and the features of the four-part cycle, outlined in the part, are the most are evident in the early classical choral version. In the latter, the principle of contrasting comparison of images, tempos, individualized thematicism is more clearly visible, even before the appearance of signs of popular everyday dances. The consistent disclosure of the content of the text did not require balancing the proportions of the sections in the partisan concert «As the hart panteth after the water brooks» («Ymzhe obrazom zhelaet»), while in the spiritual concert «I will love thee, O Lord, my strength» («Vozliubliu tia, Hospody»), a similar tendency is outlined in the arrangement of the psalms of the text in parts, which is associated with both dramatic deployment and with purely musical means of material development.