Хори а cappella Віктора Степурка на біблійну тематику: псалми

Abstract

У статті досліджено жанрові експерименти в площині такого важливого біблійного жанру, як псалми. Висвітлено характерні ознаки псалмодійного стилю композитора Віктора Степурка. Розглянуто основні творчі рішення митця щодо трактування жанру, що проявляється в самобутньому авторському баченні глибокого сакрального змісту псалмів.

В статье исследовано жанровые эксперименты в плоскости такого важного библейского жанра, как псалмы. Освещено характерные признаки псалмового стиля композитора Виктора Степурко. Рассмотрено основные творческие решения художника относительно трактовки жанра, что проявляется в самобытном авторском видении глубокого сакрального содержания псалмов.

In the musical trends of XX century and the newest period, among the “psalm creative works” performed by the Ukrainian composers, one can quite clearly define the two tendencies. One of them renovates traditions of the ecclesiastical creative works, another concerns the efficient domination of concert constituents. Psalms of Victor Stepurkо, one of the prominent composers of Ukraine, are of the greatest interest among the numerous musical works and in view of the different tendency development. The choosing of Psalter texts was quite significant in connection with the conductor specialization of the composer. So many patterns of the Psalter processing reveal the composer’s aspiration not only to the genre itself but, firstly, to the subconscious performance and then to the efficiently conscious representation of the national and mental features peculiar to the spiritual culture. Psalms that are varied in mood and in contest attract composer’s attention: he simultaneously turned to vividness of the Orthodox hymn, to mournful thoughts and praying, to solemn and dithyramb pathetic, and to the prayers full of feeling. Obviously, that the tendency to combine the certain Psalms in the unified cycle was very attractive to the artist because it allowed him to enlarge essentially and to make deeper the basic idea as well as to create the peculiar “micro-musical Psalter”. The cycle of “Psalms of David” was the first step on this way. Its atypical main point in connection with the common Orthodox tradition appeared in the item where the composer applied the Armenian wind instrument (duduk). It seems, that the composer also “passed” through his consciousness the layers of canonical religious songs and the samples of pop art. The composer applies rather interesting form of stanza which is typical for old canonical religious songs with its typical line development. Therefore, one may justly point to the mobility in approach to the genre interpretation, by intensifying of semantic aspects as to the contents of the certain creative work and “releasing” it from the traditionally-applied into the quite modern cultural and artistic context.