Concerto for Orchestra in the Context of Russian Sacred Music at the Turn of the XX–XXI Centuries
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Abstract
The article discusses the principles of the concerto genre for the orchestra in the sacred context as a new trend which appeared at the turn of the XX–XXI centuries. The individualization of interpreting the genre, the predominance of program content, the interaction of concert principles with the features of other genres are noted. The place of instrumental concerto and concerto for orchestra in the system of spiritual music genres are determined. The article identifies the main vectors in the content of the compositions, which are related to the appeal to the Russian Orthodox and Western sacred music traditions and, more broadly, to the general biblical and mythological themes. The interaction of the orchestral concerto with liturgical (Russian and Western) and non-liturgical genres is revealed. The first genres include G. Korchmar’s “Royal chants” based on the stichera, and S. Pavlenko’s “Great Instrumental Mass” (a cycle of four concerti grossi). The second ones - a concerto for string orchestra by A. Nimensky “Kanty”. The article emphasizes the close connection of the national concerto for orchestra with Russian choral culture and choral performance (“Psalms of King David” by E. Podgaits, “Kants” by A. Nimensky). In the “Psalms” by E. Podgaits is traced a synthesis of the Russian choral spiritual concert features and Jewish cult music.
Keywords: concerto for orchestra, concerto grosso, genre, liturgical genres, non-liturgical genres.
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