Ru
EnL. Malatsay
Choral nocturnes in the works by Russian composers in the second part of the 19–20th centuries
Currently, choral music is actively developing, what is conducive to fixed attention for the appropriate concert and pedagogical repertoire. So little-known scores of domestic composers are published and performed, genre models of choral compositions are being studied, etc. But it is the genre of choral nocturne that has not received proper coverage in the works of musicologists, while this topic can stimulate the analogous investigations and creative innovations of choral musicians-performers.
The article is devoted to the characteristic of the genre of choral nocturne in the work of Russian composers from the second half of the 19th to the last third of the 20th centuries (A. Arensky, A. Grechaninov, M. Ippolitov-Ivanov, A. Nikolsky, C. Cui, P. Chesnokov, S. Taneev, V. Agafonnikov and others). A special attention of the researcher is focused on choral scores, which the composers themselves have designated as nocturnes.
In conclusion part of the article, some results of the analysis of musical material are summarized, and also draws conclusions regarding the peculiarities of the compositional structure of works used by composers of melodic, harmonic, textured, timbre-coloristic, dynamic means of musical expression. The researcher notes that general trends in the evolution of the musical language of 20th century composers were reflected in the choral nocturnes. The broad diapason of imagery and semantic interpretations or wealth of composer’s finds in the named sphere really surprises and delights both performers and listeners. The research observations to be adduced is of interest to conductors-choirmasters and choral collectives who comprehensively interpret the repertoire and strive to extend their performing interpretations.
Key words
choral music, nocturne, Russian composers of the 19–20th centuries, means of musical expression.
For citation
Malatsay L. Choral nocturnes in the works by Russian composers in the second part of the 19–20th centuries // South-Russian Musical Anthology. 2021. No. 4. Pp. 133–141.
