Alexander Ryndin's 104 Psalm: the Problem of Expression of the Author's Will Within the Canon

Abstract

The article considers the 104th Psalm from the all-night vigil cycle, dedicated to the memory of the father of Astrakhan composer Alexander Ryndin, who has a rich experience in church singing and the practice of composing on canonical liturgical texts. Biographical information about the composer and facts explaining the address to the composition on canonical liturgical texts are introduced into scientific use. The analysis uses an interdisciplinary approach to the study of the text, characteristic of liturgical musicology. It combines the actual musicological analysis and interpretation of the liturgical text in the traditions of Russian liturgy (from M.Skaballanovich’s point of view). Choral timbrization (differentiation of voices within the group) techniques, opposition and comparison of different choir groups were found in the psalm. Attention is focused on the stylistic reference point in the rules of church singing in the harmonisation of F.Lvov, a composer of classical-romantic style, not alien to sentimental notes. The principles of stylisation in the spirit of Old Russian chant arrangements, to the traditions of which the author also adheres, by composers of the new Moscow school are considered. The need to determine the measure of the author's will within the framework of the liturgical-singing canon, and the correspondence to the prayer states, characteristic of the evening service, are indicated. It is noted that taking into account their own auditory experience of perceiving other authors’ chants, the composer follows, first of all, the musical patterns of composition development. In this case, the original personal component significantly pushes the boundaries of the existing liturgical canon. A review of the methods by which it is possible to study original works on canonical liturgical texts is also carried out. The problem of secularisation, to which the traditional genres of Orthodox worship are subjected, is touched upon. It is associated with the renewal of the means of musical expression of choral music.