The Typology of Performance Models in the Sacred Concert Music of Russian Composers of the 19th – 21st Centuries
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Abstract
Performance of sacred compositions at the turn of the 20th and
21st centuries was marked by a great diversity of interpretations
and stylistic solutions. For a stylistically sophisticated choice of
interpretation it is necessary to consider the purpose of a musical
composition and the conditions for its performance (according
to the theory of A.N. Sokhor), as well as its genetic sources (in
correspondence of the conception of Evgeny Nazaikinsky). These
denoted criteria are placed at the basis of the author’s classification
of the various types of choral ensembles, as well as the highlighting
of the types of performance models. The St. Petersburg, Moscow,
church, concert and individual style performance models have
been singled out. The St. Petersburg Singing Cappella of the 19th
century was noted for its homogeneity, evenness and balance of
sound, resembling that of an organ. The Moscow performance
model is inwardly heterogeneous, since it relies on the singing
traditions which developed in the Synod choir, which at the turn
of the 19th and 20th centuries carried out two different functions:
singing at the liturgical services at the Uspensky Cathedral
[Cathedral of the Assumption], basing itself on the church style
of singing, and also performed in concerts with a repertoire of
Russian and Western European sacred concert music of various
eras and styles. The stylistic model of church performance is
distinct for its special characteristic features: soft, slow singing,
without any vibrating, even-sounding and rhythmical without
bright nuances. The concert variety of performance model to a
great extent involves techniques appropriated from performance
of secular music, albeit with certain restrictions. The individualstyle
model is expressed in the manner of any individual conductor.
The study of the stylistic models of performance made it possible
to establish connections of kindred of presently existing choruses
and choirs with their predecessors in the 19th century, to define
the interaction of various stylistic traditions in contemporary art.
Keywords: performance models of sacred music, stylistic
models in choral sacred concert music, typology of stylistic
models, the St. Petersburg-based model, the Moscow-based
model, the tradition of performance in church
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References
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