Высокий контраст  Без изображений   Размер шрифта:


Forgot your password?


G. Andrievskaya

Dialogues between Music and Word in the musical-critical works by V. Kolomiytsov

The article is devoted to the diverse dialogues of Music and Word in the Russian artistic culture of the prerevolutionary era (the 1900–1910s), viewed through the prism of the literary heritage of V. Kolomiytsov, one of the outstanding representatives of Russian musical-critical thought of the Silver Age. It is noted the most important professional “roles” of V. Kolomiytsov, along with musical criticism: translator of opera librettos and poetic texts of chamber and vocal-orchestral works, and pianist-accompanist, and vocal teacher, – were inextricably linked with these dialogues. This determined the choice of certain priority aspects of the consideration of musical-verbal conjugations and interactions in artistic practice. The performing aspect implied the analysis and evaluation of certain elements of the singing culture associated with the verbal text (diction, musical prosody, the nature of intoning, etc.). In this aspect, V. Kolomiytsov especially noted the skill of the greatest Russian singers L. Sobinov, I. Ershov, F. Chaliapin, F. Litvin. Turning to the work of foreign composers of the 19th – early 20th centuries, the critic considered processes of historical development the Austro-German Lied genre. The interaction of Music and the Word implied in this case a certain evolution of composer approaches: from recreating the “general mood” of the selected verse (L. Beethoven) to resolving the problem of the “sung poem” (F. Schubert) and the organic “fusion” of vocal and piano parts (F. Liszt). The noted discourses of the critic acquired a special range in his characteristics of the opera genre. Based on the Wagnerian idea of Gesamtkunstwerk, V. Kolomiytsov considered it necessary to achieve maximum semantic accuracy, intonation expressiveness and literary correctness of the opera libretto, both original and translated. These aspirations were connected with the theoretical development of the basic principles of equi-rhythmic translation to be reflected in a number of musical-critical works by V. Kolomiytsov in the 1910s.

Key words

Russian musical criticism of the Silver Age, V. Kolomiytsov, vocal performing art, Austrian-German Lied of the 19th – early 20th centuries, opera libretto, equi-rhythmic translation of vocal texts.

For citation

Andrievskaya G. Dialogues between Music and Word in the musical-critical works by V. Kolomiytsov // South-Russian Musical Anthology. 2022. No. 3. Pp. 13-19.