Універсалізм музичного професіоналізму в ХХ сторіччі й діяльність Юна Ісанга

Abstract

У статті виявлено специфіку професійного універсалізму музиканта з Кореї Ісанга Юна, для якого фаховий статус сформувався на стику політичної роботи та музичних занять як таких. Політична idea fixe І. Юна – об’єднання Північної та Південної Кореї під егідою інтернаціоналізму – надихнула його на створення першого в історії високохудожнього симбіозу європейського і східного музичного театру.

В статье выявляется специфика профессионального универсализма музыканта из Кореи Исанга Юна, для которого профессиональный статус сложился на пересечении политической работы и музыкальных занятий как таковых. Политическая idea fixe И. Юна – объединение Северной и Южной Кореи под эгидой интернационализма – вдохновила его на создание первого в истории высокохудожественного симбиоза европейского и восточного музыкального театра.

Given article is dedicated to discovery of specifics professional universatility of musician from Korea Isang Young, for which universatility professional formed on crossing the artistic systems of the Far East and Europe, on the one hand, but, with another, on interaction his active patriotic political work and music field as such. In work P. Valéry, denoted phenomenon Leonardo da Vinci as far back as end XIX centuries is noted was new versatility of the creative manifestation, noted past age: union of the spheres to activity, incompatible representatives in consciousness of the epoch of the romanticism. For musician this was found in combination not only plural artistic-creative skills, former greeted in XIX century (the composer-performer-publicist), but also in output in theorist-experimental, mеnеggmеnte and others spheres, the impossible as composed manifestations creator-musician on previous history stage. In the centre of the analysis in article – three operas of Isang Yung on libretto of H. Kunz have defined his glory and essence his artistic contribution to world art: «Dream of Liu-Tung», 1965, «Love of spirits», 1971, «Sim Tjong», 1972. Also known and written nearly simultaneously with the first «Widow of Moth» (1965), the main acting person who is shown Lao-czy itself. Two first from named compositions are made on chinese Buddhistical source, the third – on korean legend. The plot canvas of data composition by significant opposition to european concept of the music drama, in riverbed which formed the history of the operatic genre, but matched up with theatrics of the lithurgical drama, with мистерией of the european Renaissance, relationship with which recognizable in early european opera. The ideas intellectual-religious sense turned out to be in the centre of the compositions Isang Yung, which have generated the opera-mysretry of V. Kavalieri «Belief about Heart and Body» (1600) and have got the continuation in such «not-opera – an opera» XX century as «Tale about persisting person» of S. Prokofiev and «Saint François d’Assisi» O. Messiaen. The Compositions of Isang Yung many are obliged keenness’s-responsiveness of H. Kunz, translatable morally-philosophical intellectualism of Far East in riverbed operatic, all, libretto. А in than is concluded essence this «translation», shows the analysis of a plot-dramaturgy lines in specified operas of the korean Master. Best composition of Isang Yung became the opera «Sim Tjong», 1972, opera is made on libretto H. Kunz the manner of «korean legend in two acts with Prologue and intermission». The writtenned opera to opening of the Olympic games of München in 1972, demonstrates national-korean cut chinese dаоism, which mystic moments open the Early Christian trends if european wordl-outlook. In centre event is presented love of daughter to father (the plot of the type ««Mermaid» Pushkin-Dargomyzhskij on the contrary»), for the sake of care for which she abandons fro love of Park and in curing which dashes seaborne, but the world «notpeoples» restores the moral balance, broken worldly put, generated cruel decision of father. Music filling on nature of the timbre approaches to east music phenomenon, demonstrating dynamic change noisy-loud and underlined chamber scenes then heterophonie-sеriale technology defines contact with european artistic vаnguard. XX century has returned the right a composer on joining of the capacious creative sphere – with states-sоcialorganized, specifics which so splendid demonstrate C. Orff, Z. Kodály, E. VillaLobos, D. Kabalevskij and others. Music universatility, in reproduction renaissance measurements of unity in activity for Personality music-artistic and political-organizing component has defined reflective alliance West-Orient in operatic refraction. Political idea fixe Isang Yun – an association North and South Korea under the aegis of communist understood by him internationalism – has moved him on creation first in histories of the music of the artistic high symbiosis european and east music theatre.