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M. Shiman

The music world perception by N. Rimsky-Korsakov and some peculiarities of symbolic historicism in the opera «The Maid of Pskov»

The article investigates the specifics of musical thinking N. Rimsky-Korsakov, which is characterized by an objective attitude to reality. This position is confirmed by the statement of A. Losev on is completely alien to the composer thrust of Genesis, the musical drama which is set in the field “have already reached the blessed fields.” This trait is of a creative nature Rimsky-Korsakov’s miraculously coincides with the ancient mindset, which is characterized by a method of symbolic historicism. Following the needs to express the nature of philosophy of Ancient Rus, the composer inherits the specific principles of the genre of Old Russian literature – the chronicle (the historicism, binary reality reflection, providentialism). To confirm the generality of thinking Rimsky-Korsakov with the basics of the ancient worldview, the above features of the chronicle genre is discussed in the historical opera “The Maid of Pskov”, to chronicle the quality of which was first pointed out by B. Asafiev, calling it “opera-chronicle”. In “The Maid of Pskov” clearly manifested the features of symbolic historicism: a large dramatic concentration is achieved by combining historical events, without respect for their historical chronology, but in the pursuit of “historical truth of the law.” Also “chronicles” idea of the historical predetermination and the idea of historically-necessary, objectified by Rimsky-Korsakov, who, like the chronicler, rises “above” the exigencies of human experience and events of the real history in the personal lives of the characters.

Key words

N. Rimsky-Korsakov, “The Maid of Pskov”, opera-chronicle, method of symbolic historicism, providentialism.