GYÖRGY LIGETI’S REQUIEM AS PHENOMENON OF THE WESTERN MUSICAL VANGUARD
UDC index:
78.781.07.035
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Information about authors: Koroleva Anna Vladimirovna, Postgraduate, Department of Musical Education and Study, Institute of Music, Theatre and Choreography, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation). E-mail: Nussel89@mail.ru
Annotation: Global changes in the development of social and scientific processes in the 20th century caused emergence of new trends and schools absolutely different in the art search from the previous eras in the history of musical art. Within the framework laid by vanguard features of a surrealism and radical abstraction of the musical image became characteristic for the musical Europe of the mid-century. In such a style development one of the key problems turned out to be the manifestation of the traditional genre possibilities. The genre as an art actuality (term by M. Bonfeld) is entering into certain interrelations and relations with the actuality of the real. The article presents the analysis of the rare in works combination of styles – music of vanguard and sacred texts – an example of which is the Requiem by composer György Ligeti of the western German vanguard. With the use of historical approach, it has been revealed that the Requiem takes a significant place not only in works of the composer, but also in the historical context of the post-war time. The author’s polyphonic equipment of composing and musical realization of the Latin text in the set program scope of work have been analyzed with the use of theoretical approach features. For deeper understanding the interrelations between musical material and the word, the Latin words’ lexemes have been designated. The article tells about the specificity of the “separation” of genre features in the Requiem and extraordinary, abstract embodiment of sacral images in relation to the conceptually significant emergence of the ancient genre in a given historical and musical context. The imagery contents of the Requiem have been shaped on the basis of the meaning of Latin lexemes. The study of similar examples reveals the possibilities of existence of sacral texts in the 20th century music and gives a new view on musical esthetics of the western vanguard.
Keywords: musical vanguard, requiem, sacral text, micropolyphony, esthetic figures-images.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Koroleva Anna Vladimirovna, Postgraduate, Department of Musical Education and Study, Institute of Music, Theatre and Choreography, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation). E-mail: Nussel89@mail.ru
Annotation: Global changes in the development of social and scientific processes in the 20th century caused emergence of new trends and schools absolutely different in the art search from the previous eras in the history of musical art. Within the framework laid by vanguard features of a surrealism and radical abstraction of the musical image became characteristic for the musical Europe of the mid-century. In such a style development one of the key problems turned out to be the manifestation of the traditional genre possibilities. The genre as an art actuality (term by M. Bonfeld) is entering into certain interrelations and relations with the actuality of the real. The article presents the analysis of the rare in works combination of styles – music of vanguard and sacred texts – an example of which is the Requiem by composer György Ligeti of the western German vanguard. With the use of historical approach, it has been revealed that the Requiem takes a significant place not only in works of the composer, but also in the historical context of the post-war time. The author’s polyphonic equipment of composing and musical realization of the Latin text in the set program scope of work have been analyzed with the use of theoretical approach features. For deeper understanding the interrelations between musical material and the word, the Latin words’ lexemes have been designated. The article tells about the specificity of the “separation” of genre features in the Requiem and extraordinary, abstract embodiment of sacral images in relation to the conceptually significant emergence of the ancient genre in a given historical and musical context. The imagery contents of the Requiem have been shaped on the basis of the meaning of Latin lexemes. The study of similar examples reveals the possibilities of existence of sacral texts in the 20th century music and gives a new view on musical esthetics of the western vanguard.
Keywords: musical vanguard, requiem, sacral text, micropolyphony, esthetic figures-images.
