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A. Asaturyan

Symbolist line in vocal lyricism by C. Debussy («Le jet d’eau» from the cycle «Cinq poems de Baudelaire» as an example)

The peculiarities of the music realization of symbolist poetry in works by C. Debussy are examined in the article. The author gives the analytical description of one piece from the vocal cycle «Five poems by Baudelaire» – a romance «The Fountain» (composed in 1889). The descriptions of sound innovation methods by C. Debussy (symbolist poetry by C. Baudelaire served as their source) which appear in musicological researches are regulated and substantially added by the investigator. The analogies between the works by C. Debussy and C. Baudelaire are drawn proceed from the principle of «accordances » which was grounded and transubstantiated in literature by C. Baudelaire. Music equivalents of this principle in romances by C. Debussy are revealed, they depend on the original interpretation of facture-harmonic complex dominated by modalheterophony logic. For all that a successive connection with the romantic tradition is preserved in the reciprocities of vocal and piano parts. The author examines the composition structure of the romance «The Fountain», which was built on the principle of mirror reflection at the micro- and macro-levels. The role of the motif technique first correlated in this work by C. Debussy with «facture thematicism» is revealed. It was further reflected in the works of other genres, including the opera «Pelleas et Melisande » as well as Preludes for piano.

Key words

C. Debussy, C. Baudelaire, the principle of «accordances» in vocal music, romance «The Fountain», modal-heterophony logic, «facture thematicism », motif technique.