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Relevance of the research topic. Study and understanding of works of Russian choral music of the 18th century. using the example of D. Bortnyansky's choral concerts is of significant scientific interest, since during the formation of the Russian school of composition in this area, many important patterns were formed that determined the further development of Russian music.

In the existing musicological literature about Bortnyansky, many issues of the composer’s work are touched upon and, to a certain extent, developed. However, choral concerts have not yet been subjected to special comprehensive study. No analysis has been carried out to trace and substantiate the connections between the concerts and contemporary musical art and the diverse traditions of Russian and Western European music. These deep connections manifest themselves largely at the compositional level, since “musical forms capture the nature of musical thinking, moreover, multi-layered thinking, reflecting the ideas of the era, national art school, style of the composer, etc.” . An analysis of Bortnyansky's concerts is necessary to clarify the role and significance of this genre in the composer's work and in the history of Russian musical culture as a whole. Without studying the peculiarities of the formation of D. Bortnyansky's choral concerts, it is impossible to adequately assess the nature of the continuity of Russian choral music of the 19th and 20th centuries in relation to the music of the 16th-17th centuries. The problem is all the more relevant because for many works of this genre in the 20th century, it is “the work of Bortnyansky, who widely uses psalm texts in his famous choral concerts”, that is a possible reference point - a kind of “constant”.

The scientific development of this topic was complicated by the following factors:

1. The variety of stylistic synthesis in Russian music of the 17th-18th centuries, which primarily characterized choral music. It was in this area that the refraction of the features of the music of the Middle Ages and the Renaissance, classicism and baroque took place, combining them with powerful centuries-old national traditions.

2. Insufficient development of the processes of formation in Russian choral music of the 17th-18th centuries. In the field of vocal and vocal-instrumental genres, the processes of formation are considered in the most detail in the music of Western European Baroque, domestic and Western European music of the 19th-20th centuries. Forms of musical folklore have received fairly complete coverage. Less studied are the musical forms of Russian and Western European choral music of the 19th and 20th centuries, sacred music, and secular genres of the late Middle Ages and the Renaissance.

When analyzing Bortnyansky's concerts, it is necessary to take into account their vocal nature, the refraction in them of patterns that characterize typical instrumental forms of the 18th century, and their combination with the diverse traditions of Russian and Western European music.

The degree of development of the problem. In studies of the second half of the 20th century. about Bortnyansky, the concepts that were built back “in the judgments of Russian musical figures of the 19th century continue to develop. about Bortnyansky as the main representative of Russian choral music of the second half of the 18th century<.>into three pairs of antinomies: national - western; old - new; church - secular. To this, as derivatives, the fourth and fifth alternatives were added: song - dance and vocal - instrumental."

Form formation in Bortnyansky's concerts is most directly connected with the development of Russian music of the 16th-18th centuries.

The leading issue in research on the history of Russian music of this period is the problem of styles and genres, their evolution. Renaissance trends Yu.V. Keldysh sees in Russian culture of the 16th century. in the manifestation of increased creative activity and strengthening of personal origin, in the creation of new services and cycles of chants, the largest schools of church singing, in the spread of religious “actions”. S.S. Skrebkov calls the second half of the 17th century the era of the Russian Renaissance, which is characterized by the first awakening of composer individuality.

The special historical role of the Baroque in Russian artistic culture of the 17th century is emphasized by Yu.V. Keldysh: “It is within the framework of the Baroque, covering Renaissance and Enlightenment elements, that the transition from the ancient to the new period takes place, both in literature and the plastic arts, and in Russian music.” The question of the specifics of Baroque trends in the partes concerto in comparison with Western European ones in Russian musicology was considered by T.N. Livanova. The studies of T.F. are also devoted to the peculiarities of the Baroque style in Russian music. Vladyshevskaya, N.A. Gerasimova-Persidskaya, L.B. Kiknadze. The style that developed in Ukraine in both the 17th and 18th centuries, N.A. Gerasimova-Persidskaya defines it as one of the varieties of Baroque. T.F. Vladyshevskaya calls the Baroque era the historical period from the middle of the 17th to the middle of the 18th century, emphasizing that it is separated from the Old Russian period by “only two or three decades.” In contrast to these points of view, E.M. Orlova divides the 17th and 18th centuries: unites the first half of the 17th century. with the XIV-XV centuries and calls it the period of the late Middle Ages, the time from the middle of the 17th century. until the beginning of the 19th century. denotes “a new period in Russian music”.

In Russian music of the 18th century. Yu.V. Keldysh, M.G. Rytsareva notes the increasing role of early classicist tendencies, which, among other things, were expressed in the manifestation of the inclinations of symphonic thinking “in opera overtures and other instrumental forms of theatrical music by Pashkevich, Fomin, Bortnyansky”, in the music of I. Handoshkin, the Polish composer Yu. Kozlovsky, worked in Russia. “Elements of classical style and classical imagery” Yu.V. Keldysh also notes in Berezovsky and Fomin, the expression of tendencies of sentimentalism - most fully in chamber vocal lyrics, to a lesser extent." both in opera and in a number of instrumental works by Russian composers."

The position of A.V. differs significantly from those listed. Kudryavtsev, who in the emergence and active dissemination of professional musical and poetic creativity of the musical type sees the fact that “Russian culture in the second half of the 17th century entered a phase of development typologically corresponding to the eras of the Western European high and late Middle Ages,” and characterizes the 17th-18th centuries of Russian culture as follows : “this is more the “autumn of the Middle Ages”1 than the “dawn” of modern times” [\46,146].

The complexity and diversity of stylistic synthesis in Russian music of the 17th-18th centuries. primarily seen in choral music. It is in this area that the refraction of the features of all these styles - the Middle Ages and the Renaissance, classicism and baroque - takes place, combining them with powerful centuries-old national traditions. S.S. Skrebkov singles out the “old” style of Russian church polyphony, firmly connected “with the centuries-old

1 Title of the book by Johan Huizinga. The book by the Dutch cultural historian Johan Huizinga, first published in 1919, became an outstanding cultural phenomenon of the 20th century. “Autumn of the Middle Ages” examines the sociocultural phenomenon of the late Middle Ages with a detailed description of court, knightly and church life, the life of all layers of society. The sources were literary and artistic works of Burgundian authors of the 14th-15th centuries, religious treatises, folklore and documents of the era. traditions of Russian folk polyphony”, and the “new” - partes style, which is also called “transitional”, since “there was no separate period in the history of Russian choral music, which would be entirely represented by a single “new” style.” T.F. Vladyshevskaya distinguishes two stages of Baroque: early and high. Connects with the early Baroque style “the chants of early “line” singing<.>- these are the very first examples of polyphony that arose in Rus' shortly before the advent of partes singing and “polyphonic arrangements of the harmonization of ancient chants in the style of partes singing, usually four-voice.” “The second stage of the Baroque style in music - “high baroque” - is associated with the actual partes concert.”

In connection with the problems of Russian music of the 18th century. M.G. Rytsareva focuses on a) the gradual movement “from the narrowly national” to broad interaction with the pan-European; b) strengthening in Russian choral music of the 2nd half of the 18th century. process of secularization; c) the new function of sacred music as “courtly ceremonial art in the works of M. Berezovsky, B. Galuppi, V. Manfredini and other masters in the 1760-1770s; D. Bortnyansky, G. Sarti, St. Davydov in the 1780-1800s." , d) singles out Berezovsky, Galuppi, Bortnyansky, Sarti, Davydov, Degtyarev and Vedel as authors who “entered the history of the choral concert as classics.” Thus, we are talking about the formation in the second half of the 18th century. a new style of sacred music, a new correlation of elements of church and secular; in the 1770s - the national school of composers.

EAT. Orlova notes that in the 17th century. “there is a reorientation in the development of Russian art from Byzantine-Eastern foreign relations to Western European ones,” which leads to a stylistic renewal of Russian music, an enrichment of genres, and an expansion of the social functions of Russian music. The influence of Polish and Ukrainian music on the work of Russian composers in the 17th century, in the 18th century. - German and Italian are noted by Yu.V. Keldysh, S.S. Skrebkov, V.V. Protopopov, M.P. Rakhmanova, T.Z. Seidova and others. The significant influence of Italian music led in the 18th century. to the formation, according to B.V. Asafiev’s definition, of an “Italian-Russian” musical style.

The interaction of oral and written traditions can be traced at different stages of the development of Russian music. S.S. Skrebkov states that “the transfer of traditions of folk polyphony into church music was a completely natural act of creative attitude towards church art.” These processes are also reflected in the studies of T.F. Vladyshevskaya, N.D. Uspensky, A.V. Konotop, L.V. Ivchenko, T.Z. Seidova and others.

B.V. Asafiev, T.N. Livanova, Yu.V. Keldysh, E.M. Orlova considers the synthesis of intonations of a folk song and znamenny chant in the genre of cant. As general principles of the musical structure of folk and professional ancient Russian singing art, T.F. Vladyshevskaya calls the singing principle. A.V. Konotop reveals the commonality of the “compositional structures” of “monotimbral polyphony” of church singing “with typical forms of folk song.”

A significant place is occupied by the study of the processes of mastering new genres by Russian composers. Yu.V. Keldysh emphasizes that “the characteristic features of musical baroque received the most vivid and complete expression in the partes choral concert.” Choral concerts of the 17th-18th centuries. are considered in the studies of N.A. Gerasimova-Persidskaya, T.F. Vladyshevskaya, N.D. Uspensky, V.V. Protopopov, V.N. Kholopova.

The huge role of song genres in Russian culture and art of the 17th-18th centuries. emphasized by Yu.V. Keldysh, T.N. Livanova, M.G. Rytsareva, O.E. Levasheva, T.F. Vladyshevskaya, E.M. Orlova, M.P. Rakhmanova, T.Z. Seidova and others. New genres are identified - drawn-out song, non-church spiritual lyrics, urban song, “Russian song”, cant.

In theoretical research on the history of Russian music of the 17th-18th centuries. One of the most important is the question of how the process of replacing “medieval monody with a polyphonic style of partes singing (emphasis mine - T.V.), based on fundamentally different aesthetic and compositional premises,” took place. It receives consideration in the studies of M.V. Brazhnikova, N.D. Uspensky, S.S. Skrebkova, A.N. Myasoedova. Features of the harmonizations of early Partes compositions are reflected by V.V. Protopopov, T.F. Vladyshevskaya, S.S. Skrebkov, N.Yu. Plotnikova and others, the formation of a new mode-harmonic system in Russian music of the 18th century. - A.N. Myasoedov, L.S. Dyachkova.

In studies of Russian music of the 17th-18th centuries. T.N. Livanova, V.N. Kholopova considers the processes of establishing the clock metric system.

In analyzes of literary and poetic primary sources of Russian music of the 17th-18th centuries. a broad range of issues is outlined: “verse - prose” (B.A. Kats, V.N. Kholopova), features of Old Russian, Russian literature, versification (research in the field of philology, history and theory of Russian verse), “verse (verbal text) - tune" (N.A. Gerasimova-Persidskaya, B.A. Kats, A.V. Rudneva, B.V. Tomashevsky, M.P. Shtokmar), "verbal rhythm - musical rhythm" (V.A. Vasina- Grossman, B.V. Tomashevsky, 9

E.A. Ruchevskaya, M.G. Kharlap, V.N. Kholopova), “verbal text - musical composition” (T.F. Vladyshevskaya, V.N. Kholopova, B.A. Kats, A.N. Kruchinina).

In the analysis of the processes of formation in Russian music of the 17th-18th centuries. the derivativeness of the musical form from the form of the verbal text is emphasized, and varied repetition as the leading method of musical development of partes concerts (T.F. Vladyshevskaya). The contrast-composite form of concerts (T.F. Vladyshevskaya), the strophic organization of cants (M.P. Rakhmanova), the emergence of functional relationships in the form of songs by A.P. Sumarokov (T.V. Cherednichenko) and the features of musical thematics (V.V. . Protopopov, M.G. Rytsareva, V.N. A possible initial taxonomy of musical form in individual choral works is proposed (V.V. Protopopov). The study of E.P. is devoted to the peculiarities of the formation of the sonata form in Russian music before Glinka. Fedosova.

In studies about Bortnyansky, the central issue is the composer’s style. S.S. Skrebkov quotes B.V. Asafiev about Bortnyansky: “In general, the Italian influence in Bortnyansky’s music is greatly exaggerated by his ruthless critics. He was not a passive imitator at all. But there could not have been any other musical language than the one (Russian-Italian) that he used.” The undoubted influence on Bortnyansky’s work of the forms and genres of Western European baroque and classicism - the sonata-symphonic cycle, concerto grosso, polyphonic forms is noted by M.G. Rytsareva, Yu.V. Keldysh, V.N. Kholopova. The reliance on secular genres and the major-minor harmonic system is emphasized by M.G. Rytsareva. According to the researcher, “the generally instrumental intonation style of the 18th century, based on harmonic figuration, was the universal environment in which the main attributes of ceremonial music were organically refracted: fanfare, viva-ness, marching and the entire sphere of gallant lyricism.” Classicist tendencies in the musical language of concerts are noted by L.S. Dyachkova,

A.N. Myasoedov. Parallels between Bortnyansky and Mozart are drawn

B.V. Protopopov, E.I. Chigareva.

V.F. Ivanov traces the formation and development of Bortnyansky’s choral creativity, reveals its origins and innovative features, genre specifics, and shows Bortnyansky’s influence on subsequent composers. The author divides Bortnyansky's choral heritage into the following genre groups: choir arrangements, original liturgical works, vocal and choral works on Latin and German texts, concerts.

B.N. Kholopova compares Bortnyansky's concertos with the Russian Baroque concerto and notes the onset of typification of concert forms and the definition of the functions of the constituent sections. In comparison with the Baroque concerto, the author notes in Bortnyansky the individualization of the material, the crystallization of “thematicism, especially in the final fugues.”

The multi-thematic nature of Bortnyansky’s choral concerts, “due to thematic openness and the absence of the principle of thematic centralization, the structure of themes that is far from classical standards,” is explained by L.S. Dyachkova influenced by “polyphonic thinking of pre-classical art - aesthetics and norms of Baroque art”, M.G. Rytsareva - Bortnyansky’s free attitude towards mature homophonic forms.

S.S. Skrebkov emphasizes that “Bortnyansky’s genre of spiritual concert is a synthetic phenomenon that, with classical clarity, generalizes the trends in the development of Russian choral music at a certain historical stage.”

Features of the implementation in choral concerts and other choirs of Bortnyansky, primarily in musical thematics, the characteristics of various song genres - Russian-Ukrainian songs, “Russian songs”, cants and psalms, sentimental-elegiac romance are considered by B.V. Asafiev, Yu.V. Keldysh, V.V. Protopopov, S.S. Skrebkov, M.G. Rytsareva, A.N. Myasoedov, JI.C. Dyachkova, V.P. Ilyin. Noting the open-endedness of the thematic material, M.G. Rytsareva draws an analogy with the “Russian song”; in the smoothness of the melodic movement, the leisurely singing of the supporting tones of the mode, the balance of the “melodic waves” she sees a connection with the traditions of Russian singing art. In contrast to this, Yu.V. Keldysh argues that the intonation fusion of Bortnyansky’s choral concerts (a fusion of “opera”, cants and psalms, folk song phrases) has “little in common with the ancient church singing tradition.” V.N. Kholopova traces the “organic connection of the classicist Bortnyansky with the centuries-old tradition of Russian choral singing,” in the manner of “rhythmically widely stretching the final bars of the concert,” resulting in “purely singing accentuation, characteristic of Russian music in general, as well as folklore, with prolongation, weighting, giving weight to the final sound-syllable."

In the analysis of verbal and poetic texts of concerts, attention is focused on the principle of selection of poems, their content side (J1.JI. Gerver, E.D. Svetozarova), features of the interaction of words and music (T.F. Vladyshevskaya, B.A. Kats, V. N. Kholopova).

The most important role of functional “harmony in the system of expressive means and in formation”, the reliance “on homophonic-harmonic texture, the chord structure of which is maintained within the framework of functional harmony of the European type,” are emphasized in the studies of L.S. Dyachkova, A.N. Myasoedova, V.V. Protopopova, V.A. Gurevich. Organization of polyphony in polyphonic forms

12 concerts are dedicated to the works of V.V. Protopopova, A.G. Mikhailenko.

Despite the vastness of literature existing in Russian musicology, the widely developed problems of Bortnyansky’s work in the context of Russian music of the 17th-18th centuries, the variety of approaches to the study of Bortnyansky’s style, which assimilated the achievements of Russian and Western European music and at the same time began a new stage in the development of Russian music, issues of formation in choral the composer's concerts continue to remain insufficiently studied. In many cases, contradictions arise in relation to the material, we are often faced with the refusal of specific characteristics, and some provisions seem controversial. Often there is a descriptive method, which does not sufficiently contribute to revealing the underlying patterns that determined certain features of the formation of the concert genre.

Despite the fact that homophonic forms in Bortnyansky’s concertos are found in their pure form only in rare cases, as M.G. Rytsareva notes, the descriptions of musical forms of concerts existing in the literature are based on the classification of instrumental musical forms. In this case, terminology is used that reflects the peculiarities of musical formation also in the era of classicism. The discrepancy between the musical forms of concerts and standard instrumental forms gives rise to unusual definitions of forms in concerts: “like a simple two-part”, “a simple three-part with a hint of a reprise”, with a “veiled reprise”, etc. The non-normativity of musical forms in Bortnyansky’s choral concerts is regarded as a manifestation of freedom from rules or even their violation, which entails the need for many comments.

In the analyzes of polyphonic sections by V.V. Protopopov and A.G. Mikhailenko, as noted, does not have a single point of view. Proposed

V.N. Kholopova's typology of forms of choral concerts is based only on an analysis of their cyclic structure; issues of form-building are considered in the context of the main research area - Russian musical rhythmics. N.S. Gulyanitskaya limits herself to stating the stability of musical forms, in particular Bortnyansky, as a general quality that unites the music of old times “including Greek chant, everyday life, and the music of composers.”

To date, the patterns of construction of verbal texts and their relationship with the musical series have not been identified. The question of songfulness, as one of the compositional principles of concerts, has not been raised in the literature. Only textural features were identified as specific features of the choral concert genre, in particular, the contrast between tutti and solo.

The descriptions of musical thematics and musical forms in Bortnyansky’s concerts that exist in the research literature do not reveal the internal patterns of form-building that determine their non-standard nature, the peculiarities of the interaction and combination of “European - national” at the level of form, the principles of form-building characteristic of baroque and classicist forms, polyphonic and homophonic. harmonic, vocal and instrumental, professional and folk music.

The goals and objectives of this work are determined by the need to clarify the identified issues.

The purpose of the study is to analyze 35 four-voice concertos by D. Bortnyansky for a mixed choir without accompaniment and to identify the specific features of their formation.

This goal determines the research objectives:

2 For more details on the problems of form-building in Bortnyansky’s concerts, see the author’s article: .

To trace the connections of D. Bortnyansky’s choral concerts with contemporary musical art and the diverse traditions of Russian and Western European music;

To identify the formative principles operating in concerts, the features of their interaction and correlation;

Analyze musical forms in concerts and derive their typology;

Determine the main patterns of formation of the structure of a verbal text in the process of musical development;

Consider the features of musical themes;

Define the “unit” of structure.

The object of the study was thirty-five four-voice concertos by D. Bortnyansky for unaccompanied mixed choir3. In addition, Russian choral concerts of the 17th-18th centuries, examples of early Russian polyphony, and song genres of Russian music of the 17th-18th centuries are involved.

The research material was the musical forms of thirty-five four-voice concertos by D. Bortnyansky for a mixed choir without accompaniment.

The methodological basis of the study was

3 Currently, there are two publications of concerts - in the edition of P.I. Tchaikovsky and based on the original edition. In the musical edition of the concerts edited by P.I. Tchaikovsky provides Tchaikovsky’s instructions on the changes he made in the text: “In addition to correcting typos in previous editions, which may have resulted from manuscript errors, I allowed myself in this edition of Bortnyansky’s four-voice concertos to change in places the designation of the degree of strength of performance where the previous signs seemed inappropriate to me or, due to oversight, incorrectly placed. I either skipped the countless apogiaturas that distinguish Bortnyansky’s style altogether, or transferred them to certain parts of the bar for accuracy of execution.” In addition to this, in the musical edition of the concerts edited by Tchaikovsky there are changes in many tempo instructions, dynamics, decoding of melismas, in some cases - voice guidance, harmony, and rhythm. In contrast to the author's edition, the designations of the performing staff, tempos, dynamic shades, and the letter i in verbal texts are given in Russian. Detailed comparative analysis by the author

Research approach, which was expressed in the determining role of structural-functional and intonation-thematic analysis;

An integrated approach, in which the various elements of the structure of Bortnyansky’s choral concerts are considered in their interrelation and interaction;

The historical-style approach, which determined the consideration of musical forms in concerts in relation to them with the norms, rules, patterns of formation that developed in Russian and Western European music of the 17th-18th centuries.

In studying the choral concerts of D. Bortnyansky, we rely on studies of Russian music of the 17th-18th centuries. Yu.V. Keldysh, T.N. Livanova, E.M. Orlova, S.S. Skrebkova, research in the field of Russian choral music by N.D. Uspensky, T.F. Vladyshevskaya, N.A. Gerasimova-Persidskaya, V.P. Ilyina, M.G. Rytsareva, A.V. Konotop, song genres of Russian music of the 17th-18th centuries. - Yu.V. Keldysh, O.E. Levasheva, T.V. Cherednichenko, M.P. Rakhmanova, A.V. Kudryavtseva, L.V. Ivchenko. The identification of the traditions of Western European music in the formation of Bortnyansky’s concerts was facilitated by the provisions of Yu.K. Evdokimova, M.I. Katunyan, V.V. Protopopova, N.A. Simakova. 1

In the analysis of verbal texts and their relationship with the musical series, we rely on the works on the history and theory of Russian verse by V.V. Vinogradova, M.L. Gasparova, V.M. Zhirmunsky, A.V. Pozdneva, B.V. Tomashevsky, O.I. Fedotova, V.E. Kholshevnikova, M.P. Shtokmar.

A significant theoretical influence in determining methodological guidelines on the chosen topic was exerted by fundamental research by domestic musicologists in the field of history and theory of the musical text of Forms concerts and arrangements of concertos by P. Turchaninov and P. Tchaikovsky, which is given in the analytical article by JL Grigoriev.

T.S. Kyuregyan, I.V. Lavrentieva, V.V. Protopopov, E.A. Ruchevskaya, N.A. Simakova, Yu.N. Tyulin, Yu.N. Kholopov, V.N. Kholopov), musical thematism (B.V. Valkova, E.A. Ruchyevskaya, V.N. Kholopova, E.I. Chigareva), functionality of musical form (V.P. Bobrovsky, A.P. Milka), the relationship between music and words (V.A. Vasina-Grossman, E.A. Ruchevskaya, I.V. Stepanova, B.A. Kats), musical folklore (I.I. Zemtsovsky, T.V. Popova, F.A. Rubtsov, A.V. Rudneva).

Of great importance for this work were works in the field of harmony (T.S. Bershadskaya, L.S. Dyachkova A.N. Myasoedov, Yu.N. Kholopov), polyphony (A.P. Milka, V.V. Protopopov, N. .A. Simakova), rhythm (M.A. Arkadyev, M.G. Kharlap, V.N. Kholopova), as well as articles on the evolution of styles and genres of Russian music by O.P. Kolovsky, M.P. Rakhmanova, T.V. Cherednichenko, theoretical articles by O.V. Sokolova, A.P. Milki and others - ,

The appearance of D. Bortnyansky's choral concerts marked the beginning of a new stage in the development of the choral concert genre. The originality of Bortnyansky's concerts was reflected both in the intonation structure and in the composition, which indicates a complex and flexible interweaving of the traditions of folk and professional, vocal and instrumental music of various historical periods. Signs of diverse forms of the 16th-18th centuries. refracted in concerts under the conditions of a functional harmonic system. The discovery of these signs, the identification of the fundamental principles of development, the features of the metrical and syntactic structure of musical thematics, the most important principles of the relationship between verbal text and music in the process of developing a musical form are important factors in the process of analyzing and determining musical forms in concerts and their systematization.

The scientific and practical significance of the dissertation research is associated with the possibility of further comprehensive study of the problems of form

17 education in Russian choral music. The provisions and conclusions proposed in the work help to reveal the contacts of Russian music of the 16th-17th centuries. with the musical culture of the 19th and 20th centuries, connections between Western European art and Russian, folk and professional art. The complex nature of the research allows us to use this material within the framework of the history and theory of music.

The structure of the work is subordinated to the solution of the main goals and objectives of this study and consists of an Introduction, two parts, a Conclusion, a List of References and an Appendix4.

In the first part - “Fundamentals of the formation of concerts by D.S. Bortnyansky" - the main methodological guidelines for solving the problem are determined. The task is to determine the compositional “unit” based on the analysis of the musical text of concerts, musical-historical and musical-theoretical concepts, identifying the fundamental principles of form-building, mechanisms of interaction between autonomous musical compositional patterns and verbal text, and analysis of musical thematics.

In the first chapter - “Terminology. Principles of Form Formation" - the meaning of the main terms used is clarified, the features of the manifestation of the fundamental form-building principles that determine the formation of musical form in concerts are considered: polyphony, strophicity, song compositional principles, concertity, rondalism, principles of homophonic instrumental forms, as well as the features of their interaction leading to the emergence polystructural phenomena.

In the second chapter - “Verbal texts” - the verbal texts of concerts are analyzed from the key position of literary differentiation

4 The musical examples in the Appendix are based on the latest edition of the concertos, in which the original author's text is reproduced. poetic text in the 18th century. - “verse-prose” and in the most important aspect for vocal music “verse-chant”. Here the task is to identify the peculiarities of the relationship between verbal texts and the musical series, the structure of the verbal text that arises in the process of musical development.

In Chapter Three - “Musical thematicism (metric and syntactic parameters). “Unit” of structure” - the compositional “unit” of homophonic and polyphonic forms is determined. Within its framework, the most important metric and syntactic parameters of musical thematics in the process of form-building are considered. In the structure of the compositional “unit” there is a connection with classical instrumental standard, polyphonic and various vocal “forms.”

In the second part - “Classification of musical forms in choral concerts by D.S. Bortnyansky" - based on the analysis of the musical forms of individual parts of the concerts, their classification is derived. The most important task is to identify in the musical forms of concerts the signs of diverse forms of folk and professional music that determine their originality and individuality.

In the first chapter - “One-part, strophic, two- and three-part forms” - the one-part form or the form of a stanza is analyzed, as well as the forms that arise in the event of its repetition, internal complication or the addition of a new part-strophe with a new thematic theme: strophic, two - and tripartite forms. Based on the analysis of thematic content, the functions of individual parts, the relationship between the verbal text and the musical series, the main varieties of these forms in concerts are determined, and the features of the interaction of features of vocal and homophonic instrumental forms are revealed in them.

In the second chapter - “Ronda-shaped forms and compositions with features of sonata form” – the above-mentioned forms reveal features that determine their originality and testify to their kinship with the forms of musical folklore, professional music of the Baroque era, and classicism. In rondo-shaped forms, the number of themes is determined, the features of the functional relationship, arrangement and alternation of refrains and episodes are considered, which makes it possible to classify them.

Analysis of the thematic and tonal-harmonic development of a number of strophic and ronda-shaped forms helps to identify in them individual features of the sonata form, the features of refraction of which are determined by the specifics of choral music, the vocal nature of the choral concert genre.

In the third chapter - “Polyphonic Forms” - based on an analysis of the polyphonic forms of concerts, their continuity from the polyphony of strict and free styles, the subvocality of folk songs, and the polyphonic nature of ancient Russian singing art is proven. Polyphonic forms of concerts are considered from the point of view of their compliance with the standards of musical forms that had developed at the time of the appearance of concerts. They analyze the features of thematics, the organization of polyphony, tonal-harmonic development, and the relationship between the characteristics of polyphonic and homophonic forms. Based on the analysis of these parameters, a classification of polyphonic and homophonic-polyphonic concert compositions is carried out.

The Conclusion summarizes the results of the dissertation research and outlines the prospects for further development of the problem.

Thus, the polyphonic forms in Bortnyansky’s concertos are diverse. They constitute an important milestone in the history of development

polyphonic forms in Russian music. Features of tonal harmonic development, a greater or lesser degree of compliance with the standards of musical forms that had developed at the time of the appearance of choral

Bortnyansky's concertos, the peculiarities of the relationship between the features of polyphonic forms and the features of other musical forms allow us to highlight

Among the polyphonic forms of Bortnyansky’s concertos, the following are main:

groups: tonal and modal fugues, fugato, polyphonic forms as part of rondo-shaped forms. We show these samples in the following table:

1. Tonal

A. single-theme:

B. two-dark:

2. Modal

18/2 (pr. 2-H.

Polyphonic forms

as part of ronda-shaped forms

Composite Rondo:

Refrain form:

22/2, 27/final, I/final

Rondovariant form:

Concert form:

The polyphonic forms of Bortnyansky’s concerts combine the signs of musical forms of the modal and tonal systems, the polyphony of strict and free styles, the organization of polyphony of ancient Russian singing art and domestic musical folklore. They often

there is a combination of characteristic forms of polyphonic music - themes,

response, imitation, fugue exposition - with classical structures of the period

and suggestions. Atypical for polyphonic forms of Western European music

XVIII century the two-voice presentation of the theme, its intensive variation in subsequent performances, the imitative-strophic nature of polyphonic forms testify not only to the manifestation of the principle of variation, which is regarded by V.V. Protopopov, as a “nationally determined phenomenon,” but also about continuity from the forms of the 16th century. - motet, madrigal and others, as well as the connection with the forms of Western European music

XVIII century, having an imitative-strophic structure. The variant principle, manifested in the polyphonic forms of Bortnyansky’s concerts, also indicates an indirect connection with polyphonic forms of folk songwriting and polyphonic singing

folklore are connected by the lead-chorus principle (No. 18/final), the intonation connection of thematics with cants (No. 22/2, finals of concerts JV2 No. 11, 34), lyrical songs (No. 25/final). The intonation proximity of simultaneously sounding melodic lines (Nos. 17/2, 18/2, 21/final) is similar to the equivalence of tunes in demestial three-voices. Variable texture density

in the finals of concerts Nos. 20, 21, 25, 27, 32, in the second part of concert No. 22

goes back to the imitative-polyphonic structure of the Russian partes concert. Thus, the refraction in polyphonic and homophonic forms of concerts of the diverse traditions of folk and professional, vocal and

instrumental, domestic and Western European, sacred and secular music of the 16th-18th centuries. various musical styles and styles contributed to the emergence of unique compositions for choral concerts

D.S. Bortnyansky. Conclusion

Choral concerts by D.S. Bortnyansky became a bright artistic discovery of their time. Their appearance marked the beginning of a new stage in

development of the choral concert genre. The originality of Bortnyansky's concerts

affected the intonation structure and the peculiarities of the musical form. In them

signs of genres and forms of the classicist style were organically combined with many signs of various genres and forms of Russian and Western European

professional music, musical folklore, patterns of various vocal, text-musical and instrumental, homophonic and polyphonic forms. In Bortnyansky's concerts a complex synthesis of principles is carried out

formations that found diverse implementation in different

stages of the evolution of professional and folk music. Along with the primary principles - identity, contrast, variation - in

In the formation of concerts, principles are revealed that characterize various musical forms of Russian and Western European music -

strophicity, concertity, multi-singing, rondality, song principles, principles of typical instrumental forms of the second half of the 18th century. The range of vocal forms - primary song and professional music - that influenced the composition of the concerts is very wide. Among them are forms

song stanza; strophic forms, which are equally common in both folk and professional music; other forms of profession "The concept of “artistic discovery” was used by L.A. Mazel. In our opinion, the concept of artistic discovery, formulated by L.A. Mazel,

as “a combination of seemingly incompatible”, and applied by us in relation to 248 national vocal music, in particular, ancient Russian singing art and Western European music - polyphonic, motet, concert,

refrain and other rounded forms. Signs of various vocal forms in concerts are: a) the dependence of the length of the “unit” of the musical form on the length

a fragment of verbal text complete in meaning; b) the closest connection between the musical series and the verbal text; c) asymmetry of the row of buildings; d) numerous examples of violation of squareness, in particular,

through initial and final extensions, examples of organic

non-squareness; e) periodicity as a thematic and metric principle; e)

lead-chorus textured form; g) division of large syntactic structures - sentences, periods - into smaller structures than the sentence, leading to the formation of period-like forms with a song organization of thematics (song sentences and song periods). The asymmetry of a number of constructions, largely determined by the free

chanting of a verbal text, indicates a genetic connection with a drawn-out folk song, with a large znamenny chanting, with vocal solo genres of Western European Baroque, with polyphonic forms. Establishing a connection between the musical forms of Bortnyansky’s concerts and song genres and motet compositions of the 17th century. explains usage

B.V. Asafiev, apparently, precisely in relation to Bortnyansky’s concerts, defined “cant” and “motet” in the following statement: “song skill was valued by Russian young ladies of the 18th century, and this, just like chanting, did not leave the Baroque cants and the motets of Bortnyansky, a truly outstanding master of Russian “grand forms”, the Russian choral composition for Bortnyansky’s choral concerts accurately conveys the aesthetic role played by the 249 baroque art.” Establishing a connection with motet compositions XVII

V. makes the assertion of E.M. evident. Levashov and A.V. Polekhin about

that the prototype of the Russian classical spiritual concert was the “choral psalm motet a capella of two related schools - Venetian and Bolognese.” At the same time, the functional differentiation of parts, functionality, determined by the types of presentation that have developed in classical music

harmony, squareness of the metrical organization of many constructions, large

the role of large-scale thematic structures of summation, fragmentation with closure, such large syntactic structures as sentence and period, indicate a connection with the classical style and, in particular, with classical instrumental standard forms, with diverse vocal genres

Russian music of the 18th century, which was also significantly influenced

instrumental music, in particular with “Russian song”, including

songs “for the passing of time.” Characteristic of works of classicism is the tendency to

the centralization of musical form in Bortnyansky’s concerts is manifested in

symmetry of tonal development, signs of homophonic instrumental

forms, including sonata. The combination of various formative principles determines the originality of the composition of Bortnyansky’s concerts and often leads to the emergence of polystructural phenomena. In such cases, in the development of musical

forms, the principles of “open” and “closed” are simultaneously traced

forms, centrifugal and centripetal tendencies. The polystructural nature of Bortnyansky’s choral concerts arises at the moment when, with a fairly active action of the principles of various vocal forms in Russian music of the second half of the 18th century, including primary song and text-musical ones, the role of a purely musical factor in the formation of forms increases - the functional

harmony. Its formative action begins to prevail over song and text-musical principles, overriding the traditions of lead-chorus performance. Polystructure characterizes the musical formation of many of Bortnyansky’s concerts. The formation of musical form in them is based on principles of formation that are opposite in their action. As a rule, one of the combined forms becomes strophic, which unfolds, for example, within the framework of homophonic two- and three-part forms. In Bortnyansky’s choral concerts, the verbal text is the most important

an integral part of the literary text of the work. In addition to the meaningful and expressive meaning, the verbal text, like harmony, performs the most important formative function, as well as the function of a general consolidating

complex (term by V.A. Tsukkerman). The verbal texts of Bortnyansky's concerts represent a special

a sample of musical and poetic paraphrases of sacred texts. In their composition, in a new way, in comparison with the partes concerto, the verse

principle. The organization of verbal texts in concerts in one way or another goes back to

two original forms of ancient Russian literature: prayer liturgical verse and folk song. The connection with the prayer verse is manifested in the use of the Church Slavonic language, in the nature of the emphatic statement. With folk song - in musical and speech nature

verse, methods of strophic organization, features of the relationship between the text and

melody. The most important signs of the “poetry” of verbal texts in concerts are

are their graphic form, rhythmic organization, and, in many cases, formation without rhyme stanza that arise in the process of musical development. In concerts, there is not just a division of a verbal text into syntagmas, determined by the meaning and capabilities of human breathing, but a division into segments correlated in rhythmic and intonation terms, determined by the peculiarities of musical development. Sacred texts

break up into certain units, which are separated into separate lines and, thus, lose continuity, which is the most important feature of prose speech and acquire the qualities of poetic speech. The remarkable graphic form of verbal texts in Bortnyansky’s concerts testifies to the role of the line (verse) as a certain verse measure

and its dismembering function, which is characteristic not of prose, but of poetry, the poetic speech of all peoples. But the main means of creating rhythm and measure in the verbal texts of concerts are repetitions, which, unlike song repetitions, never

violate the meaning and do not distract from it. Repetitions of excited exclamations bring many verbal texts of concerts closer to lyrically excited monologues. In addition, individual phrases of the verbal text in Bortnyansky’s concertos are rhythmically organized. And if in sacred texts this sometimes briefly occurring rhythm is absorbed by the asymmetry of the prosaic word,

then in Bortnyansky’s choral concerts the repetition of words and phrases emphasizes it. “Squareness” of musical structures in Bortnyansky’s choral concerts

sometimes coincides and is consistent with the rhythmic organization of individual fragments of the verbal text. Poetic elements in some cases are emphasized by musical means, thanks to the sound of stressed syllables on a strong

tact time, in some cases - repeated repetition of the “verse line”. In some cases, consideration of a verbal text in its relationship with

melodic development leads to discovery in choral concerts

Bortnyansky similarity with metrical versification, originally characteristic of Greek and Latin versification. The nature of the periodically arising poetic rhythm is not linguistic, but musical, in contrast to “pure” poetry outside of music. Depending on the semantic content and musical development

there is a connection of verse lines and thus the formation of groups

poems that are akin to stanzas. The absence of poetic stanzas in the

verbal text and the grouping of verses only in the process of unfolding the musical form resembles the principle of strophic organization in musical

folklore A consequence of the multiplicity of formative principles in concerts

there is a lack of a single, universal “unit” of musical form

in concerts. In initial syntactic constructions with a pronounced singing nature, periodic structures are formed. Constructions with motive-composite thematism come closer to classical sentence forms

and period. The combination of features of classical forms and chanting musical thematics makes it possible to define a number of structural “units”, such as periodically similar forms - the chanting period and the chanting sentence. In polyphonic forms, the meaning of the “unit” of the musical form is acquired by the theme,

homophonic and polyphonic. In some parts of the concerts may follow

different sections of the warehouse one after another. Among homophonic compositions, one-part forms are very few in number. Complication of musical form occurs when a stanza is repeated

or another section of the musical form, singing a new part-stanza with a new thematic theme, internal complication of the stanzas. The principle of repetition, which occurs in concerts only in rare cases

precise, leads to the formation of forms in which variation is manifested to one degree or another, for example, variant-strophic, two- and three-part variant, rondovariant. The alternation of contrasting sections leads to the formation of contrasting (different-themed) strophic, two- and three-part contrasting, motet, ronda-like, mixed forms. Strophic forms in concertos differ in the ratio of verbal

text and music, the number of parts, tonal-harmonic development and are defined by us as three-strophe and multi-strophe homophonic motets,

contrasting strophic forms. The two- and three-part forms of concerts combine the features of simple

instrumental and vocal forms - variant-strophic, through,

lowercase forms of musical folklore, rondovariants. Similarity with those common at the end of the 18th century. is expressed in simple forms in the intonation structure, tonal-harmonic plan, and in individual signs of functional differentiation of parts of the musical form. Depending on the structure of the verbal text, thematic, and tonal harmonic development, the two- and three-part forms of concerts are divided by us into those closest to simple instrumental forms,

contrasting and variant forms. The analysis of ronda-shaped forms in Bortnyansky’s concertos led to the identification of their genetic connection with chorus forms of musical folklore, with

musical forms of the 16th-17th centuries. - refrain and refrain motet. From

rondo forms that existed in the 18th century, most similar to rondo-shaped

The most popular form of concerts was the rondovariate (concert) form. Examples

Small single-theme rondos are few in number in concerts. They go back to the aria da

capo and differ from it in the absence of instrumental ritornellos. By the number of themes, ronda-shaped concerts are distinguished as single-theme, two-theme and multi-theme. According to the nature of the functional relationship between the refrain and episodes and their connection, they are differentiated as a composite,

small single-volume rondo, refrain form of the 18th century, refrain motet of the 18th century,

rondo-variant form, rondo-shaped forms with manifestation of the characteristics of the connate form, rondo-shaped forms within the framework of bistructural forms. A composite rondo, as a rule, has features of a refrain form, refrain and

the rondovariant form is combined with the form of the refrain motet. The composite nature of many ronda-shaped forms in concerts, a limited range of tonalities in comparison, for example, with the instrumental concert form, the function of complementing some intermediate constructions

or the presence of song structures in them, repetition of large fragments at the end

musical form, a significant degree of variation is a feature of the ronda-shaped forms of concerts and testifies to the importance of the song basis in them. Variation extends not only to intermediate

constructions, but also with refrains. Thus, most ronda-shaped

The forms of concerts vary, which also brings them closer to the forms of musical folklore and professional music of the Baroque era. Manifestation in many

In cases of a cross-cutting principle of development, rondo-shaped forms are related to the motet and rondo-variant forms of Trans-European music. Such qualities of ronda-shaped concerti forms as variation of the refrain, the insignificant role of ligaments, and multi-thematic nature will be further developed in

Rondo forms of Russian music of the 19th century. In certain parts of Bortnyansky's concerts, signs often appear

sonata form. The connection between the musical form of individual parts of Bortnyansky’s concertos and the sonata form is manifested in the logic of tonal-harmonic and

thematic development. The most important feature that ensures similarity

compositions of concertos with sonata form are functionally similar

constructions of concerts with sections of sonata form, which becomes the basis

to define them as the main and side parts, the connecting and final parts, as well as the thematic derivation of the side theme from the main one. In many compositions of Bortnyansky's concerts there are similarities with sonatas

the form is limited only by the presence of a section reminiscent of a sonata

exposure. The peculiarities of the refraction of individual features of the sonata form in concerts are determined by the specifics of choral music and the vocal nature of the genre. As a rule, choral sonata expositions of concerts do not contain a strong thematic contrast. Development parts are rare, and development in them, as a rule, is not very intense. The reprise, as an independent part of the sonata form, is not always highlighted, which is dictated by text-musical laws. The principles of sonata form in choral concerts are, as a rule,

secondary, formed on the basis of some other forms. They are combined with song principles of organizing musical thematics, with signs of strophic, ronda-like forms. Tonal symmetry and individual features of the sonata form contribute to the centralization of these forms, which

brings them closer to the musical forms of classicism. Textural development with the alternation of solo-apsemble episodes and choral choruses, the free implementation of the principles of sonata create an unregulated, every time

individual concert composition. The polyphonic forms of Bortnyansky's concerts combine features

musical forms of modal and tonal systems, polyphony of strict and free styles, organization of polyphony of ancient Russian singing art and domestic musical folklore. The nature of musical thematics, the use of polyphonic techniques - imitation, including

including canonical, techniques of horizontal and vertically mobile counterpoint, features of tonal and thematic development, composition, including

including paired theme-responsive imitations at the beginning of the polyphonic form,

fugue, fugato. Analysis of the features of tonal-harmonic development, relationships

characteristics of polyphonic forms with characteristics of other musical forms, the degree of compliance of polyphonic forms of concerts with the standards of polyphonic forms of the 18th century. allow us to distinguish among the polyphonic forms of concerts

Bortnyansky has the following main groups: topal and modal fugues, fugato, polyphonic forms as part of rondo-shaped forms. They often

there is a combination of characteristic forms of polyphonic music - themes, from teta, imitation, fugue exposition - with the classical structures of the period and

proposals. Atypical for polyphonic forms of Western European music

variation in their subsequent works, imitative-strophic nature of polyphony. This brings the polyphonic forms of concerts closer to the polyphony of the strict style and individual works of Western European music

XVIII century, which has an imitative-strophic structure, and is an expression of connection with the traditions of Russian musical art. The principle of variation, manifested in the polyphonic forms of Bortnyansky’s concerts, indicates an indirect connection with the polyphonic forms of folk songwriting and the polyphonic singing of cult

the lead-chorus principle, the intonational connection of thematics with cants and lyrical songs. The intopational closeness of their simultaneously sounding melodic lines is similar to the equivalence of tunes in demonic three-voices. The non-constant density of the texture is a continuation of the traditions of the imitatively polyphonic structure of the Russian partes concerto. Flexible fusion of diverse features of homophonic and polyphonic

music, instrumental and vocal genres of folk and professional

music determined the originality and individuality of the musical form in Bortnyansky’s choral concerts. Assimilation of the traditions of Russian and Western European music with already formed and established features

modern for Bortnyansky classical musical art, one admires similar processes in works of Russian choral music

XIX-XX centuries. The problems of form formation in Bortnyansky’s concertos are not limited to the problems of this work. Due to the impossibility of a detailed consideration 258 within the framework of one work of all emerging issues on this topic, a number of them are only indicated. In particular, the goals and objectives of this work do not

included a detailed examination of the musical form of concerts as a whole. However, based on the analysis performed, it seems that the construction

Bortnyansky’s musical composition as a whole is subject not only to the patterns of contrasting-composite and cyclic instrumental forms, but also

what is discussed in existing musicological studies, but also - behind the patterns of various expanded vocal forms, in particular, refrain, motet, contrasting strophic. This work has begun to develop a number of issues that require more

detailed study, for example, consideration of the continuity of the formation of concerts from the formation of vocal works of Western European and domestic music. Significant research interest

presents the development of the following possible directions: “Choral music by D. Bortnyansky (problems of form-building)”, “Choral concerts of Bortnyansky and partes concert”, “Choral concerts of Bortnyansky and Berezovsky (problems of form-building)”, “Choral concerts of Bortnyansky and Italian choral music ", "Bortnyansky's choral concerts and works for choirs by Italian masters of the 18th century", "Bortnyansky's choral concerts among the vocal genres of Russian music of the 17th-18th centuries." Their development is a matter of the future.

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