Արտահայտչամիջոցների գործառույթները Կոմիտասի «Անտունի» երգում (Ի՞նչ է լսել Դեբյուսին «Անտունի» երգում)

Հոդվածը նվիրված է Կոմիտասի «Անտունի» երգին: XX դարասկզբին Փարիզում Կոմիտասի դասախոսությունների և համերգների շնորհիվ ֆրանսիացի անվանի գործիչները ծանոթացան հայ հոգևոր և ժողովրդական երաժշտության գլուխգործոցներին: Դրանք արժանացան Ռոմեն Ռոլանի, Գաբրիել Ֆորեի, Լուի Լալուայի և այլոց բարձր գնահատականին: Ի թիվս այլ երգերի՝ հնչեց «Անտունին», որը խորապես հուզեց հատկապես Կլոդ Դեբյուսիին: Սույն հոդվածում փորձ է արվում լուսաբանելու Դեբյուսիի բարձր գնահատականի շարժառիթները: Վերլուծվում է բանաստեղծական տեքստը, մեղեդին, այնուհետև Կոմիտասի՝ երգից բխեցրած դաշնամուրային նվագակցությունը: Անշուշտ, Դեբյուսին նկատած կլիներ Կոմիտասի զգայուն, յուրօրինակ վերաբերմունքն առանձին հնչյունին, նրբերանգներին, լուսաստվերներին, ինչը բնորոշ էր հատկապես իմպրեսիոնիստներին: Օրինակ՝ «Անտունի» երգի միայն վերջին 12 տակտում Կոմիտասը զետեղել է 35 կատարողական ցուցում: Ավելին՝ հատկանշական են նվագակցության և ռեգիստրների հնչուժի հուժկու հակադրումները, բևեռացումները՝ հատկապես 37-38-րդ տակտերում: Այստեղ վոկալի հնչողությունը երկու ֆորտեից նվազում է մինչև երկու պիանո, մինչդեռ նվագակցությունը հնչում է երկու ֆորտե: Դաշնամուրի այդ «մռնչյունը», տիեզերական կոչը հոդվածագիրը համեմատում է Հրեշտակապետի փողի հետ, որը «Ցասման օրը» պիտի ազդարարի «Ահեղ Դատաստանի» սկիզբը: Նման սուբյեկտիվ մեկնաբանությունը չի բացառվում, քանի որ երգն ունի նաև գոյաբանական հնչեղություն: Բացի այդ՝ նախքան ձայնի մուտքը դաշնամուրային նախաբանը նմանակում է եկեղեցական զանգերին, ինչը ոչ միայն երգի համար ստեղծում է հնչյունային դաշտ, այլ նրան հաղորդում է խորհրդավոր բնույթ: Ահա նաև այս զանգերն են, որ կարող էին Դեբյուսիի հոգում արթնացնել իր իսկ «Զանգեր սաղարթի միջով» և «Ջրասույզ տաճարը» դաշնամուրային պիեսների կերպարները: This article is dedicated to the song Antuni by Komitas.At the beginning of the 20th century, thanks to Komitas's lectures and concerts held in Paris, famous French figures got acquainted with the masterpieces of Armenian folk and sacred music. They were highly praised by Romain Rolland, Gabriel Faure, Louis Laloy, and others. Among other songs, Antuni was performed there, which deeply touched Claude Debussy. This article attempts to shed light on the reason of Debussy’s high appreciation. The poetic text, the melody, and then the piano accompaniment are analyzed which are derived from the song itself. Debussy would have noticed Komitas's sensitive and unique attitude to individual sounds and nuances, which was especially typical of the Impressionist artists. For example, in the last twelve bars of the song Antuni, Komitas has written as much as 35 performance marks. Moreover, the strong contrasts of dynamics in different ranges in the accompaniment are to be noted, especially in the bars 37-38. Here the volume of the voice decreases from ff to pp, while the accompaniment continues sounding ff. The author of the article compares this "roar" of the piano, the cosmic call, to the trumpet of the Archangel, which will announce the beginning of the “Day of Wrath” on the “Doomsday.” Such a subjective interpretation is not excluded, as the song also has an ontological meaning. In addition, before the voice enters, the piano accompaniment imitates church bells, which not only creates a sound environment for the song, but also endows it with a mysterious character. These are the bells that could awaken in Debussy's soul the characters of his own piano works.

The Catholic Church in Republican Musical Aesthetics

Debates concerning the appropriate nature of sacred music in France persisted throughout the nineteenth century. While many figures within the Catholic Church took the more traditional stance in their proclamation of plainchant as the genre of sacred music par excellence, other priests and church musicians insisted that more modern styles of composition were not only appropriate but necessary for French Catholics. This debate was not limited to the confines of the Church: Republican composers, for their part, also contributed their views on the matter, which largely stated that the realms of sacred and secular were not mutually exclusive. This chapter outlines the debate on both sides in order to reveal how Republican composers absorbed the numerous criteria involved in the composition of sacred music into their secular constructions of French music. It also reveals the discursive slippages between Catholic denigrations of “modern” religious music and “secular” compositional styles: more often than not, modern religious music was strikingly close to the Catholic ideal, even when it was written by a decidedly secular composer for non-liturgical use. A study of Contes mystiques, a collection of twelve mélodies written by such composers as Gabriel Fauré, Théodore Dubois, Henri Maréchal, and Pauline Viardot, reveals how Republican composers absorbed the numerous criteria involved in the composition of sacred music and how this modern music was strikingly similar to the Catholic ideal, even when written by “secular” composers for non-liturgical use.

Relações Intertextuais entre Canções de Nepomuceno sobre Poemas Parnasianos e Simbolistas e a Mélodie Francesa: Coração triste e Canção da ausência

Partindo da hipótese que a passagem de Nepomuceno para estudos na França causou grande impacto em Nepomuceno, levando-o a adotar a Mélodie como modelo em suas canções, o objetivo deste artigo é analisar obras paradigmáticas buscando demonstrar as relações e compreender o processo de assimilação. Objetivamos mostrar possíveis referências de Alberto Nepomuceno (1964–1920) a Gabriel Fauré (1845–1924) em duas de suas canções, Coração triste e Canção da ausência. O processo analítico, de natureza comparativa e interdisciplinar, tem como referencial teórico Stein e Spillman (1996) na análise de relações texto-música, bem como Klein (2005), Reynolds (2003) e Straus (1990) na análise das estratégias intertextuais, não se furtando à identificação de aspectos que possam contribuir à caracterização do estilo composicional de Nepomuceno, trazendo à luz a consciência de relação entre Nepomuceno e as correntes modernistas francesas. Palavras-chave: Alberto Nepomuceno; Canção de câmara brasileira; Intertextualidade em música

Features of the embodiment of the genre of sonata for violin and piano in the works by Gabriel Fauré (on the example of Sonata № 2, in E Minor, op. 108)

Background. The article reveals the genre-style, form-building and dramatic features of G. Fauré’s Sonata No. 2, in E Minor, op. 108. It is determined that this work, in contrast to his first sonata in A Major op. 13, written in the early period of the composer’s life and embodying romantic elation and inspiration, belongs to the late period of G. Fauré’s work, which is distinguished by a complex harmonic and polyphonic writing, sophisticated form and dramatic content characteristic of the early 20th century music and the First World War. The purpose of this article is a characteristic of genre-stylistic and compositional-dramaturgical features of G. Fauré’s Sonata for violin and piano № 2, in E Minor, op. 108. Results. The Second Violin Sonata by G. Fauré, in contrast to the First, has a different dramaturgy and is built on the principle of dramatic antithesis. A special place – and this brings its logical patterns closer to Beethoven’s – is given to the sonata allegro of the first movement, the excitement and explosiveness of which contrasts not only with the lyrical Andante of the second one, in A Major, but also with the enlightened and carefree Allegro non troppo of the finale in E Major. The logic of the formation in the first movement is associated with the originality of the passage of musical events and has a spiral structure consisting of five turns. The musical image of the second movement’s theme is interesting, as it is born from the conjugation of several voices, combining the features of rhythmic variability. This gives the theme a special, truly French charm. There are several dynamic build-ups in the second movement throughout Andante, which shows the implementation of the wave dramaturgy principle. Rondo shows the freshness of musical colors and spontaneity of expression. The last refrain of this part is especially interesting from the dramatic, thematic and ensemble points of view. The general culmination of the Sonata takes place in the refrain. It includes the main intonational ideas and serves as a generalization of the key events of the composition. At the highest climax of Rondo the main and secondary themes from the first movement of the Sonata appear. Thus, the idea of concentric circles, which was noted in the sonata allegro, is implemented in the finale of the Rondo. Conclusion. The analysis of the Second Violin Sonata by G. Fauré allows us to speak not only about a special implementation of the form in this work, but, in comparison with the First Sonata, about a great variety of ensemble writing, marked by the polyphonization of texture. The timbre contrast of the violin and piano allows the composer to set off the emerging replicas, arrange them in different sound spaces, which may resemble the organ register. The loss of any “character” by the members of the ensemble is most consistently traced in the sonata allegro. Another regularity can be traced in the reduction of the background, which is supplanted by the thematization of the texture. This is emphasized by the frequent change of role-playing functions of the instruments and the multitude of ensemble details that ensure the mobility of the musical texture and its multidimensionality. In this Sonata G. Fauré shows a special sensitivity to the harmonic component of the musical language. This search for expressive possibilities of harmony subsequently becomes a distinctive feature of the modern French musical language, which affects the sound image of a chamber ensemble, leading to the interpretation of chamberness as a refined variability of sensations.

‘Under the Gallic Spell’: Boston's Embrace of Gabriel Fauré, 1892–1924

French influence on American twentieth-century music has long been central to historical narratives, particularly in relation to Nadia Boulanger and her pupils from the 1920s onward. Yet the much earlier impact of Gabriel Fauré (1845–1924), Boulanger's own teacher, has been largely ignored. While most American audiences around the turn of the century were largely unfamiliar with Fauré, Boston embraced his music enthusiastically. By the 1890s, a growing Francophile aesthetic reflected in the city's musical life encouraged performances of French repertoire, and a remarkable number of Fauré's compositions were introduced, some heard frequently enough to become well known to local audiences. Many of Boston's most influential critics, educators, performers and patrons admired Fauré and advocated for him as a representative modern French composer. That his music was so warmly welcomed in Boston at the end of the nineteenth century without any overt self-promotion by the composer has not been widely known until now. Although Fauré never visited the United States, his music found a home away from home in Boston, both while he was still living and well beyond.

Three Versions of Classic: The Construction of Gabriel Fauré in the 1920s

Drawing on recent scholarship (Kelly, Pasler, Wheeldon, Fauser) examining the discursive construction of the reputations of well-known Belle-Époque musicians, this article investigates the case of Gabriel Fauré and the ways in which his posthumous legacy was shaped throughout the 1920s in France. Drawing on wide-ranging journalistic and biographical sources, the article argues that the figure of Fauré was increasingly constructed around the concept of the ‘classic’ in the years immediately following his death in 1924. I suggest that the types of ‘classicism’ associated with Fauré in this context were, however, multivalent and largely contingent on the cultural and aesthetic mandates of those ‘reputational entrepreneurs’ that sought to advocate in favour of his posthumous legacy. This article thus examines the notion of Fauré ‘the classic’ as it was discursively constructed in three specific instances: by the French Republic in its State funeral for the composer; by the young post-war generation of composers (especially Georges Auric of the group Les Six), and by the composer, former student, and biographer of Fauré, Charles Koechlin. These cases reveal that Fauré's classicism was articulated in contrasting ways, ranging from a heroic classicism associated with the celebration of national ‘great men’, an aesthetic classicism linked to French musical traditions, or, finally, a classicism derived from the aesthetics and culture of Ancient Greece.

‘Distant Reading’ in French Music Criticism

This article offers a series of experiments exploring the potential for ‘distant reading’ in French music criticism. ‘Distant reading’, a term first coined by literary theorist Franco Moretti, refers to quantitative approaches that allow for new insights into a large corpus of texts by aggregating data. While the main corpus employed here is the Revue et gazette musicale de Paris (1831–1877), I also use secondary corpora of reviews of Félicien David's Herculanum in 1859, Berlioz's reviews of Gluck and Beethoven in the Journal des débats and reviews that mention Gabriel Fauré in the Library of Congress’ Chronicling America database. My experiments employ a text analysis tool named Voyant, built by Geoffrey Rockwell and Stéfan Sinclair, thereby also offering a basic introduction to the range of visualizations employed in distant reading. My experiments focus on areas in which quantitative methods are particularly well suited to generating new knowledge: corpus-wide visualizations and queries, moving beyond traditional text searching, investigations of music critics’ authorial styles and detecting sentiment in reviews, and finally, to geographies of music criticism.