До визначення концепту «духовність» в контексті творчості Г. Свиридова

Abstract

У статті досліджено концепт «духовність» у контексті творчості Г. Свиридова. Розглянуто прояв духовних зв’язків православної культури у вокально-хоровій творчості композитора. Охарактеризовано композиторську творчість як різновид духовного виробництва, що має специфічні завдання й естетичну функцію.

В статье исследован концепт «духовность» в контексте творчества Г. Свиридова. Рассмотрено проявление духовных связей православной культуры в вокально-хоровом творчестве композитора. Охарактеризовано композиторское творчество как разновидность духовного производства, которое имеет специфические задания и эстетическую функцию. Ключевые слова:, , , .

Composing art is a form of spiritual production that has specific tasks and aesthetic function. It is an evidence of a certain level of spirituality of music creator. Composing creativity is represented by a set of perfect spiritual entities, such as ideas, theories, beliefs, religious persuasion, ethical and aesthetic norms, moral values, ideals, artistic images. A piece of music in terms of philosophy, sociology refers to creations of spiritual production. In its best examples it reflects the spiritual life of society, associated with the development of various forms of social consciousness, which is presented in turn not as an individual and psychological, but as a socio-historical fact. The author’s internal need to reveal his abilities, skills and attitude, is reflected in his creativity. G. Sviridov’s creativity at the present stage gets to the center of the methodological problems, which demand development of the questions of the analysis of the spiritual contents of his compositions taking into account the achievements of philosophy, theology, liturgics and musical semiotics. Demonstration of the spiritual roots of the Russian orthodox culture in vocal and choral works of the composer lies in a reconstruction of the synergism of a singsong for which the indissoluble unity of the word and tune is typical. G. Sviridov’s phenomenon is that he made a modulation in the middle of his work – clearly, objectively, accurately – from the scope of secular interpretation of spirituality (texts of Pushkin, Esenin, Blok, etc.) to religious-temple understanding of spirituality as life in God and a pose of prayerful intercession before Him (in creativity). Such approach has several keys of disclosure in the composing creativity. In this case, it is a genre intonation, according to which praying as a way of musical implementation of catholicity is the main type of intonation. The spirit of catholicity is a keynote of spiritual life of Slavonic culture. Catholicity, as G. Sviridov’s ideological principle, is a special type of spiritual creativity, based on interpersonal communication. Spirituality of G. Sviridov is based on a religious sense that diversifies the composer's writing style and stylistics of creativity. G. Sviridov is a composer, who fundamentally defended the classical norms of art in his creativity, including his harmonious language. For him, the tune and tonality were indispensable foundations, principles of his music. As a spiritual person, he gave them sacred value, considering them as acoustic predicates of the divine beginning, as a reflection of the prototype of divine harmony. The cycle «Motets and prayers» for an unaccompanied choir (1980–1997) is occupied a special place in G. Sviridov’s creativity. This work became not only the actual completion of the composer’s creative career, but also a logical conclusion of a whole direction, which had been maturing during the last three decades of his life. The composer relegated «Motets and prayers» himself to the field of liturgical and musical works. The composition consists of a few choral collections. Their union under the common title gave us the chance to consider these spiritual choruses as the certain metacycle, which is penetrated with the similar stylistics and subject.