Интерпретация поэзии Рене Шара в «Молотке без мастера» Пьера Булеза

Abstract

The article presents the results of study of three poems by Rene Char from the collection “Le Marteau sans maitre” which became the literary basis for the eponymous vocal-instrumental cycle by Pierre Boulez. It provides information about Char’s poetry collection “Le Marteau sans maitre” and gives a brief stylistic characterization of the poetic miniatures selected by the composer. Based on her analysis of semantic fields, the author proposes an interpretation of the content of the poems “L'artisanat furieux,” “Bel edifice et les pressentiments” and “Bourreaux de solitude.” Paradigmatic and syntagmatic connections uniting these poetic texts into a cycle are established. Another aspect of the study concerns Boulez’s methods of vocalizing Char's verses in terms of possible transmission of their content into the context of a musical text. In this regard, only the third, fifth, sixth and ninth movements of the cycle are examined. By means of syllabic and melismatic singing of the words, the necessary transformation of the poetic syntax, the changes in the poems’ compositional structure, various textures and instrumentation, Boulez alternately complicates or facilitates the perception of the verbal text, depending on the respective artistic task. On the level of the vocal part, its meaning is explained by the differentiation of articulation in the range from singing cantilena to Sprechstimme, nuance of timbre, sound-imagery means, and intonational reminiscences. Keywords: vocal music, Pierre Boulez, Rene Char, “Le Marteau sans Maitre”.