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ЛИРИЧЕСКИЕ ОБРАЗЫ В ВОКАЛЬНОМ ЦИКЛЕ «КУ УН» («ОСЕНЬ») ЯКУТСКОГО КОМПОЗИТОРА КИРИЛЛА ГЕРАСИМОВА Давлетова Аннотация: Keywords and phrases: a Yakut composer, a vocal cycle, a romance, content, musical image. firstname.lastname@example.org Vocal music and embodiment of lyrical images takes an i mportant place in creativity of Yakut composer l Gerasimov . At his solo vocal com positions there are products of various genres: it is a song, a romance, a ballad, an elegy, a nocturne, waltz, a hymn, a march, and also a song crying (« Letter from the vocal collection he Nature magic sounds») [2, p. 307]. Among compositions of a vo cal genre in creativity of the composer there are also duets and choral products. In this article we would like to stop more on a genre of a romance and to analyse vocal cycle of the composer Kuhun Autumn The romance, from Spanish «romance» is a chamber vocal product for a voice with unstrumental support. The term romance has arisen in Spain and originally designated a secular song in the Spanish ( Roman ) language, unlike the church chanting sounding in the Latin tongue. Collections of such so ngs often united by the general plot, wore the name «romancero» . In romance music, unlike a song, more attention is given to mood, creation of an integrated image. The romance melody is more detailed, closely bound to a poem, reflects not only its gene ral character, stanza type, the poetic size, but also some poetic images, their development and change, rhythmic and intonational drawing of separate phrases. Instrumental support in a romance has important expressive value and frequently is the participan t of ensemble equal in rights. The romance genre assumes very serious and thoughtful relation to the literary text and K. Gerasimov pays great attention to a choice of a poetic material in the products. The com poser considers that « words should correspo nd precisely to mood, a theme, in them a special plot must be displayed in them » [3, p. 22]. He creates his compositions exclusively on verses of the Yakut poets. The author addresses to verses of the famous and well known poets of Yakutia: S. Dadaskino v, M. Timofeev, Alekseev, K. Urastyrov, G. Ugarova Ugaalaah, Vinokurov ( Чагылган ), S. Kapitonov, Yefimov, N. Gerasimov Ajtalyyna, and others. Very often composer when choosing poetic texts addresses to the creativity of poets women Frolova, M. Mihajlova, Mihaleva Saja, S. Golderova. In K. Gerasimov's vocal heritage there are two vocal cycles Kuhun («Autumn» ) written in 1998 and the Triptych «Ejiehe iydana» («To You, the moonlight night»), 2005 In a vocal cycle Autumn is shown the re ference to the composer's favourite theme to the nature. Chamber vocal miniatures of the cycle, as the author defines himself, belong to a romance genre. Six romances were included into the cycle under the names: « » (Autumn »), «Kuhunnu oyuurga» In an autumn wood»), «Tulaajah uruya» (« the Lonely crane »), Bylyttar Clouds»), «Hallaan attara», («Heaven horses») and «Sulustar» Stars »), united among by a poetic theme of autumn, image of loneliness, beauty of the Yakut nature. The first product «Kuhun Autumn») is written on H. Gorokhov's verses. The picture of the autumn quiet day in which the warmth of the gone summer is still felt is described in it. But the approach of colds and winds is felt both o n the earth, and in the sky, the nature gradually prepares for winter, the greens disappear, birds are going away. The romance is written in the simple couplet form, each couplet forms the simple two private form. The quiet and measured melody of the firs t part of the couplet sounds in the phone of stiffened, clear and transparent chords. In the second section there is a change of the texture that is bound immediately to the romance content. Mobile arpegio support transfers internal movement and exitemen The romance on N. Gerasimov's words «Kuhunnu oyuurga» («In an autumn wood») represents the description of a wood in the late autumn in which all is covered by hoarfrost, and only the call of a deer and the knock of the ice drops is heard. The romance i s written by modern musical tongue. It is necessary to notice that the composer tries to avoid direct citing of the Yakut songs. It starts from intonations of narrative Yakut speech, hence, the rhythmic drawing of a romance is born from the text, and verse s influence the intonational basis of the romance. In this romance the original way of search of key is felt. The strained harmonies in the accompaniment, complicated melodic line in the relation of the sound height constructed on jumps without resolution , the use of the enlarged so called Yakut quart, give to sounding instability and intensity. Accompanied by a piano elements of atonality which are drawing mysterious, unreal pictures of the wood covered with hoarfrost are obviously audible. In the roma nce «Tulaajah turuya» («the Lonely crane»), written also on Gerasimov's words, we hear a whirlwind of emotions and feelings. It is the culmination of all the cycle. The dramatic nature is in the figurative maintenance of the romance in which the history of the lonely crane soaring over the wood, flying here in search of the girlfriend is told. Excited melody and piano party in which the composer skilfully uses figurations and passages, registers and sound and tembre complexes, such as, fo r example imi tation of the cry of a crane, very precisely reveals the intense inwardness of the image. Representation, competent use of the orchestral writing speaks about the skill of the composer symphonist. The next romance Bylyttar Cloud ) on verses of Tomol on draws for us the autumn sky on which slow clouds are floating. The smooth slow melody built on second and third minor intonations, sounds on the phone of open fifth chords, forming the organ point. For the given romance are characteristic: slow rate, v oice frequency definiteness, measured pulsation in piano party. All this reflects the images of philosophical meditation, reflexion. The romance «Hallaan attara» («Heaven horses») on V. Tarabukina's words draws the quaint forms of the clouds reminding ru nning horses, the thunderclouds carrying fertile rains. All this is transferred by means of texture transparency, cristallity and sonority of sounding, both in a voice and piano parts. Change of tonal sphere from minor to the major reflects the change of mood that symbolizes transition from tragical images of the cycle to the life assirting, bright beginning. The first section of the romance is written in E dur, the second in F dur. Here is the basis of the fifth, light major tonality, high «Lydian» IV step, metric pulsation of quarter notes in melody line. The cycle is finished by the romance on M. Yefimov's words « Sulustar Stars in which the picture of calmness, tranquility, contemplation is drawn, the blinking of stars and their reflexion in wa ter smooth surface is described. Liriks and contemplate character is very precisely is reproduced in the party of piano reflecting enlightenment, full of light mood and heat. To rise upwards to stars, to rise over the earth, to be above earth cares so i t is possible to define the basic figurative sphere of the romance that finishes the cycle. The melody of the romance built on simple diatonic motives, with each sound rises up and up, to the sky, clouds and stars. The bright, transparent texture of the c hords, D dur. So lightly and optimistically the cycle comes to the end. Thus, the vocal cycle Autumn is united by the comlete image the image of the nature which is eternal and bring to us inspiration, sensation of freedom and flight. Each romance so lves the certain art problem executed by means of exact selection of musical paints and means of expression: clear melody line of the voice part, rich sounding of the piano, lyrical, sometimes dramatic text. As we already noted, the text in romances plays very important role: it carries the basic mood, the special plot is developed in them. The images of Nature reflect internal human experiences and special psychological state. Musical phrases which follow the text exactly reflect syllables of the Yakut w ord, precisely fix the accents. The principle of construction of the verses, used in two las t romances «Heaven horses» and « Stars meets in tradi tional Japanese lyrical poetry « vaka , known since the XIV century. While tran slating «khaiku» from the beginn ing of the XX th century were written as three line verses. In classical khaiku , as well as in the Yakut poetry, the central place is occupied by natural image, obviously or not correlated with human life. Thus in the text there should be indication o f a season. haiku is written only in the present: the author writes down the immediate impressions of just seen or heard. Traditional khaiku has no name and does not use means of expression habitual for the western poetry (in particular rhyme), howeve r uses the series of the specific ways developed by Japanese national tradition. The art of writing khaiku is an ability to describe the moment in three lines. In a small poem each word, every image is on the account, they get special weightiness, import ance. To tell a lot using only a few words the major principle of khaiku The same principle is observed in K.A. Gerasimov's vocal lyric s which leaning on the scenery and beauty of the tongue, in each word, in each musical sound puts weightiness, spe cial semantic value. To the vocal music of K. Gerasimov is inherent bright intonational turns, remembered melodic line that transfer the original world of feelings, thoughts and experiences of the author. And in end it should be noticed that K. Gerasimov considers as one of the tasks of his creativity is writing of Yakut romance. In music of the Yakut composers the romance genre, according to the composer, is presented not so widely as it demands more deep revealing of the content of the text and correspon ding support with equal participation of piano party in the art disclosing of the image [3, p.22]. Использованная литература: Герасимов К.А. Синяя ночь: песни и романсы в сопровождении фортепиано /К. А. Герасимов; [обл. П. Н. Слепцовой; ил. М. П. Васильевой Сурзаковой]. Якутск: Бичик, 2006. 136 с. Давлетова Р.Р. Вокальная музыка якутского композитор а Кирилла Герасимова // Аргуновские чтения: материалы международной научно практической конференции (WORKSHOP), 17 апр. 2015 г. / [под общей ред. д. социол. н. У.А. Винокуровой; ред. совет; Т.И. Аргунова Лоу, У.А. Винокурова, Д.М. Винокурова и др.]. Якут ск: ИЦ АГИКИ, 2015. 354 с. (Культура Арктики; Вып. 3). 310. Давлетова Р.Р. Вокальная музыка якутского композитора Кирилла Герасимова // Сборник публикаций мультидисциплинарного научного журнала «Архивариус» по материалам II международно й научно практической конференции: «Наука в современном мире» г. Киева: сборник со статьями (уровень стандарта, академический уровень). К.: мультидисциплинарный научный журнал «Архивариус», 2015 г. 104 с. С. 21 24. Давлетова Р.Р. Творческая деятельно сть якутского композитора Кирилла Герасимова // Исторические, философские, политические и юридические науки, культурология и искусствоведение. Вопросы теории и практики. Тамбов: Грамота, 2015. № 7 (57): в х ч. Ч.1. С. 38 42. Электронный ресурс: http://www.norma40.ru/articles/istoriya romansa.htm The used literature: Gerasimov K.A. Dark blue night: songs and romances accompanied by piano / K.A.Gerasimov Yakutsk: Бичик , 2006. Davletova R.R. Vocal music of Yakut composer Kirill Gerasimov//Argunovsky readings: materials of the international scientifically practical conference (WORKSHOP), April, 17, 2015. Yakutsk: AGIKI IS, 2015. 354 p. (Culture of the Arctic regio ns; #. 3). . 305 310. Davletova R.R. Vocal music of Yakut composer Kirill Gerasimov //the Collection of publications of multidisciplinary scientific magazine "Registrar" on materials of II international scientifically practical conference: «the S cience in the modern world» in Kiev: the collection with articles (standard level, the academic level). : multidisciplinary scientific magazine Registrar , 2015 104 p. P. 21 24. Davletova R.R. Creative activity of Yakut composer Kirill Gerasimo v// Historical, philosophical, political and jurisprudence, cultural science and art criticism. Theory and practice problems. Tambov: the Reading and writing, 2015. № 7 (57): in 2 parts. Part 1. P. 38 The Electron resource: http://www.norma40. ru/articles/istoriya romansa.htm