32 DM. BORTNYANSKY'S CONCERT INTERPRETED BY K. PIGROV: SPIRITUAL, STYLE AND PERFORMANCE ASPECTS

Abstract

The article is devoted to analytical generalizations regarding the genre and style features of Dm. Bortnyansky's 32nd concert and their reproduction in the context of the spiritual and ethical guidelines of K. Pigrov's choral activities. The purpose of the work is to identify the features of the interpretation of the 32nd concert of Dm. Bortnyansky by K. Pigrov in the context of the spiritual guidelines of his choral school, formed at the intersection of the regent's and choirmaster's activities and their cult and liturgical primary sources. The methodology of the work is based on the intonation concept of music from the perspective of intonation-stylistic analysis, as well as on interdisciplinary and historical-culturological approaches, which allow us to reveal the spiritual, semantic and stylistic specificity of the choral heritage of Dm. Bortnyansky in the context of not only the individual authorial style of the composer, but also the evolutionary paths of the Ukrainian spiritual liturgical and singing tradition. The scientific novelty is determined by the fact that it presents for the first time analytical generalizations regarding the poetic and intonation specifics of Dm. Bortnyansky's 32nd concert and the features of its interpretation in the context of the key "angelic" guidelines of K. Pigrov's choral activity. Conclusions. Dm. Bortniansky is one of the most prominent figures of Ukrainian culture and music of the turn of the 18th – 19th centuries, whose work was formed at the intersection of national traditions of spiritual choral singing and its religious guidelines, which genetically went back to Byzantine sources, and the creative assimilation of Western European musical and historical experience. At the same time, this kind of synthesis reveals, at the same time, the priority role for the composer of the biblical-patristic, patristic understanding of the essence of spiritual singing, the origin of which was associated with the phenomenon of angeloglass and its influence on the religious consciousness of man. The above is also correlated with the poetic and intonation specificity of the 32nd concert of D. Bortniansky, which is distinguished by its meditative and prayerful character, the dominance of slow tempos and muted dynamics, adjusted to the content of Psalm 38, focused on the eternal questions of life and death. The above-mentioned features of the spiritual “reading” of this concerto by D. Bortniansky also form the basis of its performance version under the direction of K. Pigrov, the founder of the Odessa Choral School, formed against the background of his regent-conductor activity. His interpretation of this work, which demonstrated painstaking work on the purity of intonation, ensemble, comprehension of the spiritual essence of the biblical text and its corresponding pronunciation, as well as the principled avoidance of any musical and theatrical effects, all of this somehow demonstrated not only respect for the author’s composer’s text, but also veneration of the Ukrainian national spiritual and singing tradition and its sacred guidelines.