Spiritual works in the works of Russian composers. Sacred music in the works of composers of the 19th - 20th centuries. Rachmaninov was the greatest composer and pianist of the late 19th - early 20th centuries. He was distinguished by an unusually acute perception of reality. He would

(1857-1858).

Edward BenjaminBritten(1913–1976) chorale Te Deum for choir, solo treble and organ (1934), oratorio: “Babylon” on Gen. 11 (1944), music. ballad “Abraham and Isaac” (1955), operas: “Noah’s Flood” (1958), “Cave Act” (based on one of the episodes of the Old Testament, 1966), “Prodigal Son” (1968), for boys’ choir and orchestra “ Children's Crusade" (1969), cantatas: "A Child is Born to Us" (based on the texts of ancient Christmas carols, 1933), "Hymn of St. Cecilia" (1942), for treble and harp "Wreath of Carols" (1942), "St. Nicholas" (1948), "Joy of the Lamb" (1943), Cantata of Mercy (based on the parable of the Good Samaritan, 1963), "War Requiem" (1961), for orchestra "Symphony-Requiem" (1940), "Short Mass" for boys' choir and organ (1959).

Anton Bruckner(1824-1896) Te Deum (1883-1884), 7 masses, motets.

Giuseppe Verdi(1813-1901) “Stabat Mater” (1898), “Te Deum” (1898), operas “Nabucco (Nebuchadnezzar)” (1841) and “Ruth” (1845), “Requiem” (1847), “Pater noster” (1880), “Ave Maria” (1880), sacred plays.

Antonio Vivaldi(1678-1741) oratorios: “Moses” (1714), “Judith Triumphant” (1716), “Adoration of the Magi” (1722), “ Stabat Mater "(1736), motets, psalms (about 60 spiritual works in total).

Franz JosephHaydn(1732-1809) oratorios: “The Creation of the World” (1798), “Seven Words of Christ on the Cross” (1794), “Stabat Mater" (1767), "Return of Tobias" (1775), 2 Te Deum, 14 masses, including: "St. Cecilia" (1769-1773), "Mass of the War" (1796), "Teresa" (1799 ), small mass (about 1750), large organ mass Es-dur (1766), mass in honor of St. Nicholas (G-dur, 1772), small organ mass (1778); motet, cantatas.

George Frideric Handel(1685-1759) oratorios: “Israel to Egypt” (words by Handel based on the Bible, 1739), “Joseph and his brothers” (based on the poem by J. Miller, 1744), “Saul” (libretto by C. Jennens, 1739), “ Samson" (based on the text by Milton, 1743), "Deborah" (libretto by S. Humphrey, 1733), "Belshazzar" (libretto by C. Jennens, 1745), "Judas Maccabee" (libretto by T. Morell, 1747), "Joshua "(libretto by T. Morell, 1748), "Solomon" (libretto by T. Morell, 1948), "Esther" (based on the play of the same name by Racine, -), "Susanna" (1749), "Jephthah" (libretto by T. Morrell, 1752), “Messiah” (words by Klopstock, 1742), “Athalia” (after Racine, 1733), “Sunday” (La Resurrezione, words by C. S. Capece, 1708),Oratorio for the occasion» (Occaslonal Oratorio, libretto by T. Morell based on the “Psalms” of Milton, Spenser and others, 1746); “Theodora” (libretto by T. Morrell, based on the play by Corneille, 1750); “Passion” (based on the “Sacred Poem” of the poet Brockes “For the sins of this world, Christ suffered and died” 1716), "Passion according to the Gospel of John" (based on a text by the German poet Postel, 1705); anthemic psalms; 5 Te Deum (Utrecht 1713, 1714, 1719, 1737, 1743).

Alexander Konstantinovich Glazunov(1865-1936) music for the biblical drama by K.R. "King of the Jews" (1913).

Alexander Tikhonovich Grechaninov(1864 -1956) “Liturgy of St. John Chrysostom” (1903), “Demon Liturgy” (1917).

CharlesGounod(1818-1893) oratorio “Redemption” (1880-81) and “Tobias” (1866) “Death and Life” (1884), “Agnus Dei” (1838), cantatas, masses.

Antonin Leopold Dvorak(1841-1904) “Stabat Mater” (1877), oratorio “Saint Ludmila” (1886), Bible Songs (1894), Requiem (1891), Mass in D Major (1887-1892), Te Deum (1892), Psalm 149 for choir and orchestra.

Claude Debussy(1862-1918) oratorio “The Virgin Chosen” (1887-88), cantata “Daniel” (1880-84), mystery “Martyrdom of St. Sebastian” (1911), cantata “Prodigal Son” (1884).

Mikhail Mikhailovich Ippolitov-Ivanov (1859 - 1935) opera “Ruth” (1887), Liturgy of John Chrysostom (1904), “Selected prayers from the all-night vigil” (1906).

Alexander Dmitrievich Kastalsky(1856-1926) cantata “From past centuries. Judea" (1905), 73 spiritual choirs, 136 spiritual and musical compositions and transcriptions.

Luigi Cherubini(1760-1842) cantata “The Marriage of Solomon” (1816), “The Lamentation of Jeremiah” (1815), Requiem (1816).

Zoltan Kodaly(1882-1967) oratorio “Exile of the Traders” (1934), Psalmus Hungaricus (1923), Budavari Te Deum (1936), Missa brevis (1944), Adventi evek (1963).

FerencSheet(1811-1886) oratorio “Christ” (1866), “The Legend of St. Elizabeth" (1862-1865), "Way of the Cross" (1878-1879), "The Vision of Ezekiel", " Stabat Mater "(1866), "Requiem" (1866), 4 masses incl. “Gran Mass”, “Hungarian Coronation Mass” (1867), cantatas.

Jules Massenet(1842-1912) oratorios: “The Promised Land” (1900), “Herodias” (based on G. Flaubert, 1881), Mary Magdalene (1873), Eve (1875), Virgin Mary (1880), spiritual cantata: Remember, Mary (1880).

Giacomo Meyerbeer( 1791–1864) opera “The Vow of Jephthah” (1812),Psalm 91 (1853), Stabat Mater, Miserere, Te Deum, psalms.

Felix Mendelssohn(1809-1847) oratorios: “Elijah” (1846), “Paul” (1836), “Christ” (1847), 5 cantatas, psalms, motets.

OlivieMessiaen(1908-1992) oratorio “The Transfiguration of Our Lord” (1969), symphonic piece “Ascension” (1934), for organ “Nativity of the Lord” (1935), for piano “Twenty Views on the Face of the Child Christ” (1944), for choir : “Three Little Liturgies of the Divine Presence” (1944), “Mass of Whitsun” (1950), for orchestra: “Forgotten Offerings” (1930), “Hymn” (1932), “Ascension” (1934), opera “Saint Francis” Assisi" (1983).

Claudio Monteverdi(1567-1643) opera “Magdalene” (1617), Spiritual melodies (1582); Spiritual madrigals (1583), Mass “Missa senis vocibus” (1610), “Vespers of the Blessed Virgin” (1610).

Wolfgang Amadeus Mozart(1756-1791) cantata “David Penitent” (1785), 16 church sonatas, 19 Masses, incl. Great Mass in c minor (1783), “Requiem” (1791), Motet “Exsultate, jubilate” (1772).

Modest Petrovich Mussorgsky(1839-1881) “Joshua” (for choir, soloists and piano, 1877), “The Defeat of Sennacherib” for soloists, chorus and orchestra from Byron’s Hebrew Melodies, “King Saul” (for male voice and piano).

Arthur Honegger(1892-1955) oratorios “King David” (1921) and “Joan of Arc at the stake” (1935), opera “Judith” (1925), Christmas cantata (1953), Third “Liturgical” symphony (1946), ballet "Song of Songs" (1938).

Giovanni Palestrina(1525-1594) « Stabat Mater "(1590); 104 masses, over 300 motets, 35 Magnificat, etc.

Krzysztof Penderecki(1933) "Stabat Mater" "(1962); " Lost heaven"(1978) - a sacred performance in two acts based on the poem by John Milton; "Psalms of David" for mixed choir and strings (1958); “Polish Requiem” for four soloists, mixed choir and orchestra (2005); oratorio “St. Luke Passion” (1965); Symphonies: No. 2 “Rozhdestvenskaya” (1980) and No. 7 “Seven Gates of Jerusalem” for five soloists, a reader, mixed choir and orchestra (1996); Magnificat (1974) ; Te Deum (1980); "Matins" (1970).

Giovanni Pergolesi (1710-1736) “Stabat Mater” (1736), three masses, several psalms and motets.

Sergei Sergeevich Prokofiev(1891-1953) ballet “Prodigal Son” (1928).

Francis Poulenc(1899-1963) "Stabat Mater" (1950).

Arvo Pärt(1935) De Profundis (1981), “St. John Passion” (1981-1982), “ Stabat Mater" (1985), Te Deum (1984-1986), Dies irae (1986), Miserere (1989), “Magnificat” (1989), “Berlin Mass” (1990-1992), “Litany of St. John for every hour of the day and night" (1994).

Sergei Vasilyevich Rahmaninov(1873-1943) “Liturgy of John Chrysostom” (1910), “All-Night Vigil” (1915).

Nikolai Andreevich Rimsky-Korsakov(1844-1908) opera “The Legend of the Invisible City of Kitezh and the Maiden Fevronia” (1907); Overture “Bright Holiday” (Sunday Overture, 1888).

Gioachino Rossini(1792-1868) “Stabat Mater” (1842), opera “Moses in Egypt” (1818), Little Solemn Mass (1868).

Anton Grigorievich Rubinstein(1829-1894) oratorios: “Paradise Lost” (on a text by Milton, 1856) and “Panebble of Babel” (1869), “Moses” (1892), “Christ” (1893), operas “The Maccabees” (1875) and “ Demon" (1875), biblical scene in 5 scenes - "Shulamit" (1901).

Camille Saint-Saens(1835-1921) oratorios: “The Flood” (1874), “The Promised Land” (1913), “The Christmas Oratorio” (1858), the opera “Samson and Delilah” (1867-1877).

Alexander Nikolaevich Serov (1820-1871) opera “Judith” (1861-1862), cantatas, psalms, hymns, motets, choruses.

Alessandro Scarlatti (1660-1725) Mass of St. Caecilia (1721), Stabat Mater, two "Miserere", oratorios "Zedekiah, King of Jerusalem", "Sin, Repentance and Mercy".

Igor Fedorovich Stravinsky (1882-1971) for soloists, choir and orchestra " Sacred hymn in honor of the name of St. Mark" (based on text from the New and Old Testaments, 1956); “The Lamentations of the Prophet Jeremiah” (based on the Latin text from the Old Testament, 1958); cantata “Sermon, Parable and Prayer” (1961); “Funeral Hymns” (based on the canonical text of the Catholic requiem mass and funeral service, 1966); for choir and orchestra " Symphony of Psalms" (on Latin texts of the Old Testament, 1930, 2nd edition 1948); “Babylon” (based on the 1st Book of Moses, chapter XI, cantos 1-9, 1944); for choir and chamber instrumental ensemble “M” Essa" (for mixed choir and double wind quintet on the canonical text of the Catholic liturgy, 1948); “Our Father” (for mixed choir, based on the Russian canonical text of Orthodox prayer, 1926; new edition with Latin text Pater noster, 1926); “I Believe” (for mixed choir, based on the Russian canonical text of the Orthodox prayer, 1932; new edition with the Latin text Credo, 1949); “Virgin Mother of God, Rejoice” (for mixed choir, based on the Russian canonical text of the Orthodox prayer, 1934; edition with the Latin text of Ave Maria, 1949); for voice and orchestra " Abraham and Isaac" (sacred ballad in Hebrew, from the Old Testament, 1963), musical performance for readers, soloists, choir, orchestra and dancers “The Flood” (text compiled based on the Old Testament, 1961). ballet “Herodias” (1944), vocal cycle “The Life of the Virgin Mary” (1923; verse by R.M. Rilke), symphonic play “Ascension” (1934), organ suite “Nativity of the Lord” (1935), piano cycle “ Twenty Views of the Child Jesus" (1945).

Peter Ilyich Tchaikovsky(1840-1893) “Liturgy of John Chrysostom” (1878), “All-Night Vigil” (1881).

Arnold Schoenberg(1874-1951) opera “Moses and Aaron” (1930-1932), oratorio for soloists, choir and orchestra “Jacob’s Ladder” (1917-1922).

Richard Strauss(1864-1949) opera “Salome” (1905), ballet “The Legend of Joseph” (1914).

Franz Schubert(1797–1828) oratorio “Lazarus” (1820), “ Stabat Mater "(1815), German Requiem" (1826), 6 masses.

Heinrich Schutz(1585-1672) “Psalms of David” (1619), Oratorio on Easter (1623), “Sacred Hymns” (1625), “Christmas Oratorio” (1660), “Seven Words of Jesus Christ on the Cross” (1657), Passion from Luke (1666), Matthew's Passion (1666), John's Passion (1666).

IN Russia XIX century, the work of Russian composers, even such a popular one as Tchaikovsky, remained the property of a relatively narrow circle of contemporaries. The only sphere of music to which all classes without exception, each person individually, were involved was the music that sounded in the church. In an Orthodox church, as you know, there is a choir, without instrumental accompaniment.

But, as always with Tchaikovsky, there were also reasons of a deeply personal nature related to the area of ​​moral quest. From skepticism towards religious dogmas, he increasingly - especially during the period of the creation of the All-Night Vigil - gravitated towards Christian values. "...The light of faith penetrates more and more into my soul... I feel that I am more and more inclined towards this only our stronghold against all disasters. I feel that I am beginning to be able to love God, which I was not able to do before ". The image of Christ was alive and real for the composer: “Although He was God, but at the same time a man, He suffered, just like us. We pity him, we love his ideal human sides in him,” this is a diary entry, an entry for yourself.

Tchaikovsky, by own confession, sought to overcome the excessive “Europeanism” instilled in Russian church singing at the end of the 18th century - the first half of the 19th century, which, according to Pyotr Ilyich, “is little in harmony with the Byzantine style of architecture and icons, with the whole structure Orthodox service!" The composer strove to "preserve the ancient melodies in all their integrity," he wanted to return liturgical singing to its original roots, "to return its property to our church."

The Liturgy of St. John Chrysostom, and then other spiritual works by Tchaikovsky, began to be performed outside the church in concerts. This fact, initially met with disapproval by part of society, marked the beginning of a very fruitful tradition, continued by S.V. Rachmaninov, V. Kastalsky, dozens of other authors and - after a long break - revived in Russia today.

L. Z. Korabelnikova

Spiritual concert in the works of Russian composers of the second half of the 19th - early 20th centuries

I. Dabaeva

The spiritual concert, having emerged in Russian culture in the middle of the 17th century, has retained its stable position until the present day. In its history there were periods of brilliant rise and relative calm. Since the beginning of the 19th century, due to the ban on performing a concerto as part of a divine service, he practically left the practice of composing. However, on turn of the 19th century and the 20th century, the concert again attracts the attention of composers, which is due to objective reasons. The purpose of this article is to identify the specifics of the genre model of the Russian spiritual concert in the specified period of time. The scope of tasks includes consideration historical context, which influenced the modification of the genre, determining the role of secular art in this process. To confirm the position of the author of the article, archival documents and articles from periodicals of the early 20th century are used. In connection with the revival of spiritual culture at the present time, the frequent appeal of performers to the works discussed below, it seems that this material, in addition to novelty, it also has practical value.

In the development of the genre of spiritual concert in the second half of the 19th century. One can note a certain evolution, which is due to a number of circumstances. spiritual concert composer genre

On the one hand, during this period the opportunity arose for a new life for the genre, going beyond the scope of worship and performance at “spiritual and musical” evenings. This caused a return of composers' interest in writing works in this genre, searches for new genre models. In most cases, they were not performed during services, but they were often heard in concert halls. Among such works are concert compositions by A. Grechaninov, M. Ippolitov-Ivanov, Vik. Kalinnikov, A. Arkhangelsky, A. Nikolsky and many other composers. This phenomenon became widespread at the end of the 19th century during the days of numerous fasts. However, facts are also known about the earlier organization of spiritual concerts. So, in 1850, the director of the Court singing choir A. Lvov organized a concert for a choir of 700 people. It included singers from all St. Petersburg choirs. The basis was made up of spiritual concerts by Lvov himself (“Thy Mystical Supper”) and D. Bortnyansky (two-chord “We Praise Thee God”).

The widespread dissemination of spiritual concerts was initiated by active creative activity A. Arkhangelsky. In 1880, he organized his own choir, and on January 17, 1883, he gave his first public concert. Judging by the publications, spiritual concerts took place especially often in the first decade of the twentieth century. Thus, on December 1, 1902, a grandiose concert was given by the combined choir of the singing churches of St. Petersburg, in which 500 people took part under the direction of Arkhangelsky. Concerts by Bortnyansky “Who is the Great God”, Arkhangelsky “I Think of a Terrible Day” and other works were performed. And on April 20, 1903, an even more grandiose concert took place in Moscow, uniting all the choirs of the city. The number of participants was more than 2000 people. This unique choir was headed by the director of the Synodal School of Church Singing, V. Orlov. Bortnyansky's concerts were performed there. With special splendor and solemnity, as noted in publications of that time, the two-oral concert “Sing the People” was held. Such concert programs were especially in demand in the provinces.

Secular music had an undoubted influence on the genre of spiritual concert. Romantic composers, abandoning the classical relationship of contrasting, complete parts, created a one-part concert of two types: small and large forms, implementing the features of a four-part cycle within one part. As a result of the lyrical-romantic transformation characteristic features the genre became leitmotif connections, monothematism, vital importance acquired the principle of end-to-end development.

Moving away from the cumbersome classic model genre of the concert, composers wrote works called “sacramental verse,” which revealed new forms of spiritual concert. They preserved the genre content of the concert, and at the same time a number of constant features characteristic of it: an appeal to the canonical Word, a sublime ethical circle of content, intense emotional tone, singing without instrumental accompaniment, the principle of contrast, manifested at various levels of organization of the composition - tempo, rhythmic, texture, dynamic, intonation, harmonic. The noted features are also found during this period in other liturgical genres - stichera, troparions, changed and unchanged chants of the All-Night Vigil and Liturgy, which makes it possible to combine a similar group of different spiritual works with the term “concert”. If the characteristic quality of a classical concert was the static comparison of modes of various prayerful states in neighboring parts, then for spiritual works of the concert type of the late 19th century, the dynamics of development, the transformation of states throughout one section or part of the concert, become more typical. Obviously this was the embodiment new form personal religious experience.

A. Lvov's spiritual concerts represent a transitional stage from the classical type of concert to the romantic one. Church figures turn of XIX-XX centuries, they wrote the following about these works of the composer: “The pathos of his works strives to become real drama and not the drama of an aria, but the drama of the whole. And their harmonic structure is no longer Italian”; “Lvov avoided the extremes of Italian operatic style and sensibility. He gave his works a more objective character, drew great attention to the beauty of the harmonies themselves. His concerts resonate with seriousness and depth of feeling rather than with passion and bliss.” In Lvov’s concerts, various emotional states are embodied through contrasting comparisons, both on the edges compositional structures, and within them. For example, in the first part of the concert “I Will Love You, Lord,” two prayer states are compared: sublime inspiration and firmness, fortress of spirit. And in Part II, the process of emotional development covers a whole range of states: from doubt - through petition - to gaining confidence. In parts III and IV, the mode of one state is maintained.

A. Arkhangelsky played a significant role in the development of the spiritual concert. IN research literature, numerous reviews of that time contain a lot negative reviews about this part of it creative heritage. A. Nikolsky noted: “The path of lyricism in music is dangerous, since it often leads to sentimentalism, false and pompous drama, sometimes replacing a healthy feeling with painful sensitivity, repentance with tearfulness, gratitude with noisiness, “crackling”, external false pathos, etc. .d. All this happened to Arkhangelsky. He went in the direction of Tchaikovsky, but distorted his foundations." A typical mode of prayerful state, repeatedly reflected in Arkhangelsky’s concerts, is quiet sadness and mourning. During this period, prayerfulness was associated with sentimentality. Thus, Arkhangelsky’s concerts embodied the mode of prayerful state characteristic of the era and absorbed the religious experience of his contemporaries.

Many of Arkhangelsky's concerts are characterized by the same type of dramaturgy. Despite the obvious division of concerts into three sections, very often during the first and second of them one state is maintained - anxiety or sadness with a varied gradation of emotional shades within it (concentration, trembling, pain, prayer, excitement, doubt, melancholy), with subsequent dramatization, leading to ecstatic crying, screaming, explosion of emotions. The third section, as a rule, is represented by a short conclusion, embodying the mode of the state of humility and meekness. In harmony, however, there are echoes of previous storms, which makes one doubt the authenticity of humility. This is the dramaturgical logic in the concerts “I Think of a Terrible Day”, “Thou Hast Rejected Me”, “With My Voice to the Lord”, “God Inspire Prayer”. It is interesting to note in the final sections the collapse of any previous type of texture into a strict chordal four-voice. Thus, texture modulation is a means of changing the mode of state. In a number of other concerts by Arkhangelsky, one state develops: “Praise the Lord from heaven” - joy, “Lord have mercy on us” - prayer.

Various forms of transformation of the concert genre can be found in the works of A. Grechaninov, A. Nikolsky, P. Chesnokov, Vik. Kalinnikova. With all the diversity of embodied prayerful states, their works reveal many similarities. Thus, the concerts of Grechaninov “Shout to the Lord” and Nikolsky “The Lord Reigns,” which have several sections, are focused on the embodiment of one state - solemn rejoicing. In the general context, Nikolsky’s concerts stand out, the creation of which dates back to 1922: “God Save Me,” “My God, Listen to Me: Where Have You Forsaken Me?” They reflected the serious personal upheavals that accompanied the composer, and therefore the composer’s state of prayer at that time.

Chesnokov found interesting solutions in a number of concerts. For example, in the concert “To the Mother of God Diligently” the modes of various prayerful states are closely related: in the part male voices- asceticism, stern restraint, in the women's party - a plea that develops into a cry. The constancy of the emotional state captured in the part of the male voices makes this contrast even more striking. The main reproach addressed by contemporaries to Chesnokov’s works boiled down to references to the “secularism” and “concert quality” of his spiritual works. So, evaluating 10 participle op. 25, the critic noted: “Their musical merit is not the same. The weaker ones are those where there are techniques of secular choral singing and music not for the church, but rather for the salon (emphasis added by us - I.D.); and the best and most suitable are those that emanate simplicity, ancient chants and where there are no inappropriate chromaticisms and sweet harmony.” The author of the review also names excessive drama, the use of a non-chord, a list, a second chord with a doubled and sustained seventh, and student imitation as disadvantages.

Music critics of the early twentieth century in their correspondence did not skimp on comments, sometimes not harmless. Yes, priest. M. Lisitsyn wrote about Chesnokov’s Memorial Service in the magazine “Music and Singing”: “Chesnokov has long declared himself as a talented translator of several everyday melodies (“Your Chamber”, “Behold the Groom”). This essay- original creativity. It must be said to the honor of the author that he also strives to compose in the spirit of church-everyday motifs. But among these advantages, I consider it my duty to note some shortcomings, one of which must be attributed personally to the author, and the other to the “Moscow school” to which the author belongs. The author’s shortcoming is his occasional fascination with secular and romance opera styles.” One should not exaggerate the similarity of individual motifs in the works of romantic composers - modern musical science has more than once noted migrating intonations and themes, the commonality of intonation complexes in their work. The biting tone of the statement is explained by the figure of the critic: the priest M. Lisitsyn, himself a spiritual composer, represented the St. Petersburg branch of the new direction in Russian sacred music - the sharp confrontation between the two branches, imprinted on the pages of the periodical press of that time, is well known.

The reproach against the “secularism” of spiritual writings in this case requires clarification. Of course, Chesnokov, the son of the regent, a graduate of the Synodal School of Church Singing, who devoted his entire life to activities on the basis of church culture, was well aware of what befits Orthodox worship and what brings sharp dissonance into it. Here it is necessary to keep in mind that Chesnokov specially created a number of works for church use and adhered to strict rules in them: chants must be churchly in spirit, correspond to the aesthetics of worship and help create the atmosphere necessary for prayer. Other compositions were intended to be performed as part of spiritual concerts. They preserved the canonical texts, however, they allowed a freer interpretation. The first belong to the field of harmonizations and adaptations of ancient Russian chants (or stylization in their spirit), the second - to the field free essays. Among the latter, we note, for example, such works as “An Angel Cries” (op. 22), “My Soul Magnifies the Lord” (op. 40), “Do not reject me in my old age” (op. 40), “O Blessed One” ( op. 43), “Blessed is the Man” (op. 44), etc. Chesnokov’s concert works are characterized by an expressive interpretation of the canonical text, manifested in a pronounced dynamization of development, an active change of tonality, increased dissonance of sound, and the use of sound color, expressed in the use of bifunctional complexes. , alteration and disalteration of chords, organ points.

Thus, the approach to the implementation of canonical texts in musical works created for liturgical use or concert performance reveals clear differences. In the first case, the creative process is aimed at recreating the church spirit, which does not contradict the aesthetics and liturgical principles of church rite. In the second, the composer uses a set of means aimed at emotionally conveying the meaning of the text and identifying the expression of embedded figurative ideas. In these spiritual works, intended for non-liturgical use, one can clearly hear a sincere, deeply personal prayer addressed to the Lord.

Spiritual concerts, thanks to the intonation closeness to the era, the richness of thematic content, and the breadth of figurative content, became for composers a means of musical communication with parishioners and listeners. And in this sense, they fulfilled their historical mission, which Grechaninov defined as follows: “The task of the present moment is to raise the art with which the people come into contact in the church to a greater height. Then here he will develop his taste, acquire a love for real works of art, and in the future he will strive to expand his artistic horizons.”

Literature

Preobrazhensky A. Cult music in Russia. L., 1924. 123 p.

Nikolsky A. History of church singing in Russia since the 10th century. Lecture. July 22, 1907 // GCMMC. F. 294, storage unit. 380, l. 23.

Nikolsky A. Russian church choral singing in the second half of the past (XIX) and the beginning of the current century (from Tchaikovsky to Kastalsky) // GCMMC. F. 294, storage unit. 263.

Az. New books and musical compositions // Choral and regency affairs. St. Petersburg, 1910. No. 1.

Lisitsyn M. News of spiritual and musical literature // Music and singing. 1907. No. 2.

Grechaninov A. Where and how to break through // Choral and regency affairs. St. Petersburg, 1910. No. 6.

MUNICIPAL EDUCATIONAL INSTITUTION OZERSKAYA SECONDARY SCHOOL NAMED AFTER DMITRY TARASOV

Abstract on the topic
Sacred music in the works of Russian composers.

P. I. Tchaikovsky, S. V. Rachmaninov, D. S. Bortnyansky

Performed:

Butsenko Evgenia Sergeevna,

11th grade student

Lushnikova Olga Vladimirovna,

history and social studies teacher

Ozersk

INTRODUCTION
Music is the greatest consolation:

it refreshes the heart and gives it peace.

Martin Luther
Sacred music is the music of religion, the music of faith. Its development in the 18th – first half of the 20th centuries is associated with the names of great Russian composers who became famous throughout the world. Dmitry Stepanovich Bortnyansky, Pyotr Ilyich Tchaikovsky, Sergei Vasilyevich Rachmaninov created Orthodox music.

But what exactly place did religious music occupy in the work of these composers? Was it dominant in their work? Did the sacred music created by the great musical thought of these composers manage to gain recognition from knowledgeable people? What contribution did she make to the minds and hearts of people? The answers to these questions lie in the music itself, composed of notes. And life itself, the course of which opens up over time, is capable of answering them.

By studying the biographies of D. S. Bortnyansky, P. I. Tchaikovsky, S. V. Rachmaninov, you can see not only the past, but perhaps also the present, get answers and understand whether their music has become a spiritual value.

DMITRY STEPANOVYCH BORTNYANSKY

Despite the criticism and the centuries that have passed since the life of Dmitry Stepanovich Bortnyansky, the fruits of his spiritual creativity are highly appreciated. Cherubic Hymn No. 7, Lenten trio May it be corrected

The composer's name is associated with the first experience of processing ancient church chants. In the future, this idea of ​​returning to national principles in music was widely developed.

Why are you embarrassing me?

PETER ILYICH TCHAIKOVSKY

Despite the condemnation of the predominance of the secular in his spiritual work, Tchaikovsky sought to get closer to the origins of the tradition of religious music, and sought to overcome “Europeanism” and excessive pretentiousness.

One of the significant milestones in Tchaikovsky’s work as a spiritual composer is associated with his work on the “Complete collection of spiritual and musical works of D. S. Bortnyansky.” During his work (1881), Tchaikovsky created a work that preserved Bortnyansky’s works for future generations. Tchaikovsky's own attitude towards the works included in the collection was ambiguous. Tchaikovsky rated some of Bortnyansky’s concerts very highly, but for the most part
these works did not find a response in Tchaikovsky’s soul. He considered them too sweet for church singing.

The next composition for the church (“All-Night Vigil”) was created by Tchaikovsky in 1881. After All-night vigil followed Nine spiritual and musical compositions and choir Angel crying. These church works by the composer are still performed today.

,... I feel that I am more and more inclined towards this only our bulwark against all disasters.

I feel like I'm starting to love God

what I couldn't do before

P.I. Chaikovsky

SERGEI VASILYEVICH RAHMANINOV

S.V. Rachmaninov
Rachmaninov was the greatest composer and pianist of the late 19th - early 20th centuries. He was distinguished by an unusually acute perception of reality. He was one of the composers-singers of nature.

Rachmaninov's creative heritage includes works of various musical genres, including spiritual and musical works. The composer was Tchaikovsky's successor in sacred music, in the sense that he continued the tradition begun by Tchaikovsky of performing church songs in an open secular concert. And many of Rachmaninov’s works shared the same fate as Tchaikovsky’s religious works.

Sacred music occupied a significant place in Rachmaninov’s work. Being a composer of the “Silver Age” and a symbolist, he put into many of his Orthodox works symbolic meaning. The most significant works Rachmaninov's sacred music is still performed today. Among them All-night vigil And Liturgy of John Chrysostom(1910). The writing of "All Night Vigil" was completed by Rachmaninov in 1915. It was a huge success on stage, but did not enter into liturgical practice. The Church and its high demands on sacred music and concerts performing this music did not allow the “All-Night Vigil” to be fully realized even on the secular stage. This was facilitated by the circular of the Holy Synod “On the procedure for organizing spiritual concerts.” Since 1926, “All Night Vigil” has not been performed, but in the 80s it received a rebirth, again sounding in concerts.

Rachmaninov leaned towards sacred music in his work, as he saw history and best traditions Russian culture. Foreign period

In sacred music, the composer found the roots of Russian culture to which he strove.

I am a Russian composer,

and my homeland left its mark on my character and my views.

My music is the fruit of my character,

and therefore it is Russian music.

S.V. Rachmaninov

CONCLUSION

Bortnyansky created more than fifty choral concertos, which were collected and edited by Tchaikovsky. Bortnyansky can be called, without exaggeration, a singer of the church word, since his work is spiritual creativity.

Tchaikovsky was the first to bring sacred music to the secular stage, and Rachmaninov was the one who followed him and created works that sold out concerts.

The contribution of these composers of the 18th – first half of the 20th centuries to sacred music is enormous. Exhaustive proof is that we still hear it now.

LIST OF REFERENCES USED

1. 
   Igor Glebov (Asafiev B.V.) P. I. Tchaikovsky: his life and work. - Petrograd, 1922
2. 
   K. Kovalev-Sluchevsky, Bortnyansky (ZhZL)
3. 
   S. V. Rachmaninov: article “Music must come from the heart”
4. 
   A. V. Ossovsky. S. V. Rachmaninov. in the book: Ossovsky A.V. Selected articles and memories. - L.: Sov. composer, 1961.