ПСАЛМОВІ ЦИКЛИ В ХОРОВІЙ ТВОРЧОСТІ ГЕНРІХА ШЮТЦА

Abstract

The purpose of the article is to consider options for the embodiment of The Psalms’ texts in the choral work by Heinrich Schutz. The research methodology consists of the application of comparative, historical-logical, and semantic methods. This approach allows us to reveal the peculiarities of the composer’s work with the texts of The Psalms in the context of the main tendencies of the era, to examine the degree of spreading into the original source, identify the primary means of reading verbal text via music. Scientific novelty. Heinrich Schutz’s work is considered for the first time in domestic music studies from the point of view of the importance of the most common texts in the music of the early Baroque psalms. Psalm texts are the basis for almost half of all the vocal work of the composer. The interest in the music of H. Schut is due to the activation of performing interest in Baroque sacred music and the practical need for training courses in the history of music, the history of choral literature and others to update the material. Conclusions. The article has outlined the main tendencies of The Psalms’ texts implementation within the choral work by Heinrich Schut, which were the 16th – 18th-century music patterns. They are 1) motet/concert compositions’ settings to psalms; 2) poetic psalms melodies witting and adaptation. The author analyses the composer’s hermeneutical approach to verbal texts when creating motets. The critical factor in the formation of semantic fields in the motet is music. It was learned that motets are mostly written on the full texts of the psalms without significant interference; concerts written on compiled texts; texts’ reduction are less common. The article emphasises that in the process of a choral interpretation of the psalms, the composer took into consideration the peculiarities of the poetics of the original source, syntactic features of the verbal text, performance and practical needs, used rhetorical figures.