The image of the Virgin Mary in V. Ptushkin’s cantata «Salve Regina»

Yu. M. Ivanova
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Abstract

Statement of the problem. Volodymyr Ptushkin is one of the most prominent representatives of the Kharkiv composer school of the second half of the 20th and early 21st centuries. In April 2022, he passed away staying in Kharkiv under fire at the beginning of the war. The thematic and genre diversity of his music reflects the breadth of his artistic views, openness to the trends of time. Ptushkin paid special attention to choral work, he collaborated with many choral groups of Ukraine, his choral works adorn their repertoire. Undoubtedly, his works have a magnetic power, and recognition of them in the professional and amateur environment determines the relevance of this topic. Recent research and publications. Today there is not thorough study of the Ptushkin’s choral heritage, beside the separate articles by N. Inyutochkina, T. Gerdova, I. Zhukovska, M. CherkashynaGubarenko, N. Mykhailova, I. Verbitska-Shokot, A. Krychenkova. The purpose of the article is to consider the peculiarities of the embodiment of the Image of the Virgin Mary in V. Ptushkin’s cantata “Salve Regina”. Methodology. As the methods of researching the historic, comparative, genre-stylistic, intonation-dramaturgical and interpretive types of analysis is used. Results. “Salve Regina” is a deeply psychological work. It carries the most deep feelings, thanks to which consciousness builds a chain of images, the meaning of which is hidden in their associative relationships. Music of the Cantata is present as the art of hints, semitones, chiaroscuro, and undisguised, exalted emotions. The artistic and philosophical concept, the peculiarities of the embodiment of the main image, the specifics of intonation and harmonic language, dramaturgy and the form of the cantata are revealed in the study. It is concluded that the cantata synthesizes some features of baroque musical style and modern musical language, and the canonical Church text does not interfere with its vivid theatricality. The melody appears as the most sensual and emotional intonation component, while the harmonic vertical is focused on the phonic expression of bright nontertian sounds, major seventh chords and ninth chords; the semantics of tonalities are also involved. Intonation arcs, leit-chords, the principle of through dramaturgy, the contrasting juxtaposition of episodes and parts of the whole in the cantata, despite the chamber form, testify to the composer’s symphonic thinking. Conclusion. The music of the cantata significantly expanded the scope of the prayer text and brought it to the level of philosophical generalization. The image of the Virgin Mary becomes the bearer of a hidden meaning, a symbol of the spiritual development of a person. Through the image of the Mother of God, the work highlights various stages of a person’s spiritual path to knowledge of God. Each of the six parts of the cantata is a musical reproduction of a certain period of person’s spiritual life: birth – suffering – despair – protest – enlightenment – revival.
普图什金的康塔塔《国王的救赎》中的圣母玛利亚形象
问题的陈述。弗拉基米尔·普图什金是20世纪下半叶和21世纪初哈尔科夫作曲家学派最杰出的代表之一。2022年4月,在战争开始时,他在哈尔科夫的炮火中去世。他的音乐主题和流派的多样性反映了他的艺术视野的广度,对时代趋势的开放性。普图什金特别注重合唱作品,他与乌克兰的许多合唱团合作,他的合唱作品点缀了他们的曲目。毫无疑问,他的作品具有一种磁性,在专业和业余环境中对他们的认可决定了这个话题的相关性。最近的研究和出版物。今天,除了N.因尤托奇纳、T.格尔多瓦、I.朱可夫斯卡、M.切尔卡什纳·古巴连科、N.米哈伊洛娃、I.维尔比斯卡-肖科特、A.克里琴科娃的单独文章外,对普图什金的合唱遗产没有深入的研究。本文的目的是考虑圣母玛利亚形象的体现在普图什金的康塔塔“萨尔维·里贾纳”的特点。方法。作为研究的方法,历史分析、比较分析、体裁分析、语调分析、戏剧分析和解释分析是常用的方法。结果。《药膏里贾纳》是一部深刻的心理作品。它承载着最深刻的情感,由于意识建立了一连串的图像,其意义隐藏在它们的联想关系中。康塔塔的音乐表现为暗示、半音、明暗对比和毫不掩饰的崇高情感的艺术。研究揭示了康塔塔的艺术哲学理念、主要形象体现的特殊性、音准与和声语言的特殊性、戏剧手法和形式。结论是,康塔塔综合了巴洛克音乐风格和现代音乐语言的一些特点,教会的规范文本不干扰其生动的戏剧性。旋律作为最感性、最感性的音准成分出现,而和声垂直则侧重于明亮的非丁音、大七和弦、九和弦的音色表达;调性的语义也包括在内。康塔塔虽然采用室内乐的形式,但其音准弧度、左和弦、贯穿戏剧的原则、情节与整体部分的对比并置,都证明了作曲家的交响乐思维。结论。康塔塔的音乐极大地扩展了祈祷文本的范围,并使其达到了哲学概括的水平。圣母玛利亚的形象成为一种隐含意义的承载者,是一个人精神发展的象征。通过上帝之母的形象,作品突出了一个人在认识上帝的精神道路上的各个阶段。康塔塔的六个部分中的每一部分都是一个人的精神生活的特定时期的音乐再现:出生-苦难-绝望-抗议-启蒙-复兴。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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