Modern works by Kuban composers on the orthodox canonical liturgical texts

Abstract

The article is devoted to the compositions of Kuban composers of the 21st century on Orthodox canonical liturgical texts. The features of the musical poetics of the works, their stylistic prototypes, as well as the motivation for turning to spiritual topics are considered. The problem of rapprochement of two lines of choral performance - church and secular is touched upon. Attention is drawn to the precedent of inlaying canonical liturgical texts as a private means of artistic expression in the context of a secular composition. Attention is focused on a careful renewal of the means of musical expressiveness of compositions, taking into account the traditional author's poetics of liturgical chants. The signs of following the style model of Obikhod in the harmonization of S. Smolensky, as well as the compositional techniques of the authors of the New Direction in Russian sacred music at the turn of the 19th-20th centuries, are revealed. The importance of the composer's church singing experience for the adequate embodiment of the verbal basis of rites in chanting is emphasized. A causal relationship is revealed in the change in the musical interpretation of the liturgical verbal basis in secular compositions under the influence of the concept of the opus, where the canonical liturgical text is “encrusted”. It also shows the dependence of the expansion of liturgical chants on the concert stage and secular compositions on the kliros on the processes of personnel “migration” of singers, the role of the individual in the development of this type of art, and the concept of the development of a creative team.