ON GENRE DEVELOPMENT IN BENJAMIN BRITTEN’S INSTRUMENTAL CYCLES (TO THE 105TH ANNIVERSARY OF THE COMPOSER)
UDC index:
785
DOI: 10.31773/2078-1768-2019-47-121-125.
Article ID in the RSCI:
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Information about authors: Karpenko Vladimir Evgenyevich, Teacher of Irkutsk Regional Children’s School of Arts, Honorary Artist of Russia, Member of the Union of Composers of Russia, Laureate of International Competitions (Irkutsk, Russian Federation). E-mail: ensemble@mail.ru
Annotation: The article is devoted to the issue of genre development in Benjamin Britten’s instrumental cycles. The genre contrast between the parts of the cycles (Sonata, Suite) and the sections of the one-part form (variation) underlies the dramaturgy and composition of Britten’s multi-part works. As a result, there is a genre synthesis of three forms – sonatas, suites and genre variations – original in each case. The article discusses the typical genres and genre changes that build the dramatic development of the cycles of the English classic. Most often figuratively are multifaceted March and waltz. The lyrical sphere is represented by elegy, lullaby, barcarole, romance, song. The Scherzo-etude sphere is dominated by Moto perpetuo, figurative meaning of which can be quite different. The important role of polyphony (so typical of 20th century music) is confirmed by the presence of fugues in solo cello suites, the final role of fugues in Variations on the theme of F. Bridge, as well as in numerous examples of imitation and contrast polyphony in Variations on the theme of G. Purcell. Along with the traditional classical genres, there are numbers based on the dialogical principle, also characteristic to the music of the last century. These parts are called “Dialogue” or another name (“Bourdon” in the Cello Suite Solo No. 1). Dialogically, it can be manifested vertically in a combination of several melodies (on the principle of one-time contrast) and horizontally in the alternation of different themes. When considering the general architectonics of the Britten cycles, the author identifies stylistic genre changes of images that cause transitions from one emotional state to another.
Keywords: instrumental cycles of Britten, genre, genre drama, sonata, suite, variations of the genre.
DOI: 10.31773/2078-1768-2019-47-121-125.
Article ID in the RSCI:
Article file: Download
Information about authors: Karpenko Vladimir Evgenyevich, Teacher of Irkutsk Regional Children’s School of Arts, Honorary Artist of Russia, Member of the Union of Composers of Russia, Laureate of International Competitions (Irkutsk, Russian Federation). E-mail: ensemble@mail.ru
Annotation: The article is devoted to the issue of genre development in Benjamin Britten’s instrumental cycles. The genre contrast between the parts of the cycles (Sonata, Suite) and the sections of the one-part form (variation) underlies the dramaturgy and composition of Britten’s multi-part works. As a result, there is a genre synthesis of three forms – sonatas, suites and genre variations – original in each case. The article discusses the typical genres and genre changes that build the dramatic development of the cycles of the English classic. Most often figuratively are multifaceted March and waltz. The lyrical sphere is represented by elegy, lullaby, barcarole, romance, song. The Scherzo-etude sphere is dominated by Moto perpetuo, figurative meaning of which can be quite different. The important role of polyphony (so typical of 20th century music) is confirmed by the presence of fugues in solo cello suites, the final role of fugues in Variations on the theme of F. Bridge, as well as in numerous examples of imitation and contrast polyphony in Variations on the theme of G. Purcell. Along with the traditional classical genres, there are numbers based on the dialogical principle, also characteristic to the music of the last century. These parts are called “Dialogue” or another name (“Bourdon” in the Cello Suite Solo No. 1). Dialogically, it can be manifested vertically in a combination of several melodies (on the principle of one-time contrast) and horizontally in the alternation of different themes. When considering the general architectonics of the Britten cycles, the author identifies stylistic genre changes of images that cause transitions from one emotional state to another.
Keywords: instrumental cycles of Britten, genre, genre drama, sonata, suite, variations of the genre.
