FEATURES OF TEXTURES OF CESAR FRANCK’S CHORALES
UDC index:
781.6
DOI: 10.31773/2078-1768-2019-46-45-55
Article ID in the RSCI:
Article file: Download
Information about authors: Bobina Elena Mikhaylovna, Postgraduate, Department of History, Theory of Performing Art and Music Pedagogy, Magnitogorsk State Conservatory (Academy) named after M.I. Glinka (Magnitogorsk, Russian Federation). E-mail: bobina.elenka@mail.ru
Annotation: Among the works of Cesar Franck, organ works occupy a special place: these are numerous organ miniatures, and major works that the composer has made throughout his creative biography. The objective of this work is to study the textual peculiarities of the chorales of Cesar Franck as a leading side of formation of the image and genre. Analytical and comparative methods are chosen as the most important research methods. The article reveals the specifics of elements’ ratio at various levels of the melody and accompanying voices, interaction of texture with the pitch line, influence on the rhythmic and modal organization, harmony are revealed. The texture is analyzed as a method of presentation, as a method of deployment, as an element of dynamic pressure, and as a factor in the “detail of emotions.” Various manifestations of the texture in Franсk’s chorales are investigated, systematics of the most typical types of texture for these works are proposed, special attention is paid to the processes of texture melodization in the choral and textural variation. The preservation of a single textured model throughout the chorale is a rather rare phenomenon. In the process of development, “texture deviation” or “texture modulation” occurs: the type of presentation changes, the warehouse, and their rethinking is observed. Often there is a psychologization of polyphonic receptions, the saturation of specific linguistic properties (time distance and interval step, direction, number of conduits, etc.) with bright semantic meanings, an introduction to the context and the reflection of the lyrical hero’s fate. In this way, the musical language of Franсk’s chorales can be considered as encyclopedia of texture techniques: with varying degrees of completeness, almost all of the forms are involved, all types of presentation, striking ingenuity in the interpretation of musical fabric is obvious. Receptions of many past epochs are revived, on their basis surprising textural finds and synthetic compounds arise. This aspect in musicological literature is not yet covered. The studies devoted to Cesar Franck have two main directions: in some of them, the creative way is fully revealed, the personality of the composer is described, in others, his main compositions are clearly presented. However, there is not a single special musicaltheoretical study reflecting the peculiarities of texture in the chorales of the French composer.
Keywords: César Franсk, musical texture, choral, textural variation, textural functions.
DOI: 10.31773/2078-1768-2019-46-45-55
Article ID in the RSCI:
Article file: Download
Information about authors: Bobina Elena Mikhaylovna, Postgraduate, Department of History, Theory of Performing Art and Music Pedagogy, Magnitogorsk State Conservatory (Academy) named after M.I. Glinka (Magnitogorsk, Russian Federation). E-mail: bobina.elenka@mail.ru
Annotation: Among the works of Cesar Franck, organ works occupy a special place: these are numerous organ miniatures, and major works that the composer has made throughout his creative biography. The objective of this work is to study the textual peculiarities of the chorales of Cesar Franck as a leading side of formation of the image and genre. Analytical and comparative methods are chosen as the most important research methods. The article reveals the specifics of elements’ ratio at various levels of the melody and accompanying voices, interaction of texture with the pitch line, influence on the rhythmic and modal organization, harmony are revealed. The texture is analyzed as a method of presentation, as a method of deployment, as an element of dynamic pressure, and as a factor in the “detail of emotions.” Various manifestations of the texture in Franсk’s chorales are investigated, systematics of the most typical types of texture for these works are proposed, special attention is paid to the processes of texture melodization in the choral and textural variation. The preservation of a single textured model throughout the chorale is a rather rare phenomenon. In the process of development, “texture deviation” or “texture modulation” occurs: the type of presentation changes, the warehouse, and their rethinking is observed. Often there is a psychologization of polyphonic receptions, the saturation of specific linguistic properties (time distance and interval step, direction, number of conduits, etc.) with bright semantic meanings, an introduction to the context and the reflection of the lyrical hero’s fate. In this way, the musical language of Franсk’s chorales can be considered as encyclopedia of texture techniques: with varying degrees of completeness, almost all of the forms are involved, all types of presentation, striking ingenuity in the interpretation of musical fabric is obvious. Receptions of many past epochs are revived, on their basis surprising textural finds and synthetic compounds arise. This aspect in musicological literature is not yet covered. The studies devoted to Cesar Franck have two main directions: in some of them, the creative way is fully revealed, the personality of the composer is described, in others, his main compositions are clearly presented. However, there is not a single special musicaltheoretical study reflecting the peculiarities of texture in the chorales of the French composer.
Keywords: César Franсk, musical texture, choral, textural variation, textural functions.
