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PHILHARMONICA. International Music Journal
Reference:

The realization of M. Tsvetaeva's poetry in the choral concert "Trinity Day" by Y. Falik

Shikhragimova Emiliya Robertovna

Postgraduate student, Department of Humanities, Saratov State Conservatory named after L.V. Sobinov

410028, Russia, Saratovskaya oblast', g. Saratov, ul. Prospekt Kirova, 1

emiliyarober@mail.ru

DOI:

10.7256/2453-613X.2022.4.38280

Received:

16-06-2022


Published:

23-06-2022


Abstract: The name of the St. Petersburg composer Yuri Alexandrovich Falik is known both in Russia and abroad. He has created a large number of compositions in different genres. Falik pays considerable attention to choral music. His choral legacy is represented by a wide range of genres. These are miniatures, a choral concert, a poem and a choral cycle, Orthodox hymns and a Catholic ordinary mass. The range of the composer's poetic preferences is also rich. Falik refers to the poems of A. S. Pushkin, M. Y. Lermontov, A.A. Tarkovsky, A.I. Solzhenitsin, N. A. Klyuev, A.A. Akhmatova, N.S. Gumilev and M.I. Tsvetaeva. The article discusses the peculiarities of the implementation of the content of M. Tsvetaeva's poems by musical means in the choral concert "Trinity Day" by Yu. Falik. Starting from the folklore motifs embedded in the poems, Falik creates stylizations referring to Russian drawling songs, ditties, and the dialect characteristic of the folk tradition. The composer uses variation of melodic motifs, rhythmic variation, combines natural-fret means and chromatics, uses such techniques as choral staccato, glissando, imitation of instrumental tunes, introduces ostinate layers of sound. It is established that the composer managed to find such structural, melodic, rhythmic techniques and musical means that not only illustrate the content of the poems, but also reveal its new facets.


Keywords:

choral concert, Yuri Falik, Trinity Day, Marina Tsvetaeva, folklore tradition, choral music, poetry and music, chorus, musicality of poetry, music of the XX century

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The article "The realization of M. Tsvetaeva's poetry in the choral concert "Trinity Day" by Y. Falik" is devoted to the analysis of this choral concert. The research methodology is quite diverse and includes comparative historical, analytical, descriptive, etc. methods. The author analyzes both music and poetry. The relevance of the article is great, since it examines the work of one of the outstanding contemporary composers, and currently everything related to contemporary art is of extreme interest to the scientific community. The article has a clearly expressed scientific novelty and tangible practical benefits. According to the content, we have a scientific article in front of us, testifying to a deep knowledge of the authors' creativity, the ability to draw serious and correct conclusions, written in a lively, vivid language. It has a clear structure: it introduces the reader to the genre of the choral concert itself, gives a detailed idea of the concert "Trinity Day". The author's ability to analyze the studied material should be attributed to the most powerful aspects of the study: "The basis of the Kaluga Road part of the concert is Yu. Falik wrote the poem "Over the blue of the groves near Moscow." The first stanza of the poem performs a pictorial function, unfolding the landscape surrounding the heroine, a picture of a rainy day and blind wanderers wandering along the road. Tsvetaeva has the ability to draw an integral poetic picture in such a way, selecting local features of the landscape and the environment, which together recreates a certain cultural and historical flavor [3, p. 50]. The second part describes the state of the lyrical heroine, who is in harmony with the pilgrims, with nature and her faith. The poem is distinguished by its unhurried rhythmic structure, the length of metrical accents. The breadth of breathing is especially felt in the first two lines, since it is in them that there are no pauses, punctuation marks. The composer reproduces this feature by musical means, using a variable meter and a large 3/2 size. Tsvetaeva's sense of chant is facilitated by the use of alliteration — the frequent use of the "o" sound in the first two lines: "Over the blue of the groves near Moscow / The bell rain is falling." This feature was felt and emphasized by Yu. Falik due to the chants of the stressed syllable in the word "blue" and the last words in the lines "grove", "rain". In addition, wanting to depict the sound of rain, the poetess actively uses hissing sounds: "grove", "rain", "Kaluga". The author studies all parts of the work in great detail: "Contrasts between sections are formed due to the timbre distribution of the material. In the first part, the theme is presented in the soprano and tenor parts. The violas and basses sound on a sustained sound. Their connection is associated with the introduction of the motif of the "cross" in the viola part on the words "I will put on the cross". The movement of the melody symbolically outlines the contours of the cross, and tart harmonies of quartaccords and chords with side tones are formed between the voices. In the second part, the soprano part is switched off. The main melodic line goes to the lower registers, tenors and basses, while the violas, on the contrary, get the part on a sustained sound." Unfortunately, the bibliography of the article is insufficient, it includes only 2 sources on the research topic, which requires additions. The appeal to opponents is widely present and executed at a highly professional level. The conclusions, as already noted, are extensive and serious: "Based on the conducted research, the following conclusions can be drawn. Tsvetaeva's poetry turned out to be surprisingly consonant with the work of Yu. Falika. The versatility and imaginative richness of the poetess's poems were an inexhaustible source of inspiration for the composer. The choral concert "Trinity Day" by Falik demonstrates the organic implementation of the content of Tsvetaeva's compositions by musical means. At the same time, following the main idea of the author of the poetic text, the composer often places semantic accents in his own way. The result is a deep reading of the content of the poems, which allows us to reveal new facets of Tsvetaeva's work. Coming into contact with the folklore tradition, the composer creates his own melodies, similar in spirit to folk songs. The main principle of development is variation, or rather "accentual variation of melodic motifs" [4, p. 17]. Folk flavor is also formed due to tonal and fret solutions. On the one hand, the composer sometimes strives for natural-fret harmony (Dorian fret is found), diatonics, and fret variability, thereby forming iridescent sound patterns with frequent changes of melodic supports. On the other hand, techniques from the field of chromatics are also actively used. The composer also resorts to complex harmonies, various types of seventh chords that organize both vertically and horizontally, resulting in, at times, an unusual impressionistic sound. The reception of parallel fifths in the bass part or the movement of parallel triads is expressive. Thus, we also see the adherence to traditional means of folk music, as well as the composer's desire to give the work a fresh harmonic sound." After completing the list of references, the article will be able to arouse the interest of both a professional readership (musicians, musicologists, students and teachers) and a wide range of readers interested in poetry and music. Comments of the editor-in-chief dated 06/22/2022: " The author has fully taken into account the comments of the reviewers and corrected the article. The revised article is recommended for publication"