§16.1 Music in the temple. Orthodox church music and Russian musical classics Titles of musical works for Orthodox churches

The universal laws of art, embodied in beliefs, rites, religious rituals, canons of architecture, monumental and decorative arts, painting, sculpture, literary expression and music in the fusion of one artistic whole - this is an incomplete list of what the synthesis of temple art presents to humanity. Moreover, the emergence, development, and very existence of this phenomenon differ among different peoples with rare similarities. It reflects the worldview of the eras, all of humanity’s ideas about the world.

Unity of earthly and heavenly

The main value of absolutely any religion, be it Christianity, Buddhism or Islam, is temples that embody the image of the world order. Such religious buildings are the dwellings of the omnipresent unearthly God on Earth. These are places where God is found through prayer, unity with Him through sacrament and salvation of the soul.

The idea of ​​the divine is contained in the very image of the Temple of the Most High, which lives beyond the boundaries of human consciousness and combines people’s ideas about the world order. There is a refuge from the bustle of the world, there is an awareness of the unity of heaven and earth. The synthesis of arts works in aesthetic education in the same way.

High musicality of the word, ancient icons with stern faces, solemn architecture of temples, monumental frescoes, full of dignity plastic sculptures, beautiful and precisely balanced melodies of church music - all this gives rise to sublime moral feelings when thoughts come about life and death, about sin and repentance, when the soul strives for ideal and truth. The synthesis of temple art addresses compassion and empathy, peace and tenderness, spirituality and enlightened joy.

Arrangement of an Orthodox church

An Orthodox church reserves the entire space under the dome for worshipers, while the altar room is intended for divine super-reality. Icons remind of God and call to Him. Until the eighteenth century, all church music was strictly one-voice, echoing the asceticism of icons, frescoes, and mosaics. Afterwards, the musical compositions that accompanied the services became polyphonic and more concert-like, often composed by composers. This was served by the temple synthesis of arts and the fusion of church and secular principles.

The decoration of temples also became richer in form and brighter in palette. Gold, cinnabar, purple, smalt - the images of saints became more expressive, intense and varied, the singing became more professional, even skillful. All this puts the flock in a solemn, prayerful mood, and the service itself grows in splendor.

Synthesis of temple art in Catholicism

Grandiose and majestic in architectural terms, the interior is bright, the space is filled with air and flight. All parts of the decor are directed upward: the pillars and columns are thin and graceful, the windows are stained glass and tracery, the barriers between the interior of the cathedral and the outside world seem ephemeral.

Unlike the choir without instrumental accompaniment in an Orthodox church, in a Catholic church both a choir and an organ sound. Architecture, painting, sculpture, as well as the sacrament of the service - all types of synthesis of arts are also radically different.

Understanding the truth in Islam

The huge dome - the mosque - is a symbol of the one God (Allah), and the tower next to it - the minaret - symbolizes his prophet Mohammed. The mosque consists of two proportionate spaces - an open courtyard and a shaded prayer hall. All architectural parts of the Muslim temple reflect the Muslim concept of beauty: the dome seems to hover over the mosque, the niches hang over each other like steps into the endless sky, the minaret is directed upward to divine grandeur.

On the walls of the mosque you can see only beautifully designed sayings from the holy book of Muslims - the Koran, since here the temple synthesis of arts absorbed only architecture and the poetic word to the accompaniment of strings. Depicting gods or any living creature is strictly prohibited and is considered sacrilege. Here there is only ornament as a phenomenon of the Muslim worldview - a symbol of infinity in the rhythmic repetitions of the main motifs. In turn, repetition is the most reliable way to express devotion to Allah and comprehend his truth.

The problem is Buddhism

Buddhists organize outdoor festivities. Their processions are very colorfully theatricalized, accompanied by music and dancing. The Buddhist is especially impressive. These inhuman sounds seem to connect the worshipers with a distant, unpredictable antiquity, and at the same time carry their consciousness into space, into the music of the spheres.

The ancient one was built from huge slabs and stones as the basis for heavy and lush sculptural and ornamental decoration, which covered almost its entire surface. There are no arches or vaults in a Buddhist temple. Numerous bells usually ring on the roofs, swaying from the slightest gust of wind, ringing melodiously and driving away evil spirits. Bells are a ritual object that is used in worship. However, the temple synthesis of arts in Buddhism and Islam is not as complete as in Christianity.

Florensky about the Trinity-Sergius Lavra

The Lavra cannot be just a museum precisely because an object of art is not a thing - it cannot be a motionless, standing, dead mummy of artistic activity. We need to make it a never-ending, ever-flowing stream of creativity. An object of art is a living, pulsating activity of the Creator himself, albeit removed from Him through time and space, but inseparable and shimmering with all the colors of life, an always agitated spirit.

Art must be vital, and this depends on the degree of unification of impressions and the method of their expression. The unity of content attracts us to true art. By removing any one facet from a full-fledged function, we obtain a fiction of real content.

The Lavra should be considered as a synthesis of temple art, as a single whole in cultural and artistic terms, as a center and monument of high culture. You need to appreciate every little thing: her way of life, her unique life that has receded into the realm of the distant past.

Synthetic arts

Various types of arts are actively combined in theatre, cinema and television. Music, drama, visual arts and literature most often interact here.

First of all, the listener or viewer perceives the literary basis of the play or film. The visual perception of the image is helped by costumes and decorations to create the atmosphere of reality that the plot presents. Music creates and enhances emotional experiences.

A unique genre on stage is the musical, which required a special synthesis of arts. Examples of revealing serious material by the most accessible means for the audience are the following: the musical “Notre Dame de Paris” by Hugo, where the arts of music, drama, choreography, vocal, plastic and artistic merged together. The musical has features of vaudeville, operetta, variety show, and variety show, due to which it is distinguished by the brightness of the material.

The synthesis of arts on television includes not only feature television films and series, but also many shows that are conducted according to certain scenarios. Here, color and music lighting devices are connected to the design and decoration of the studios, which help create the atmosphere, space and a certain sound environment provided for by the script. The synthesis of arts on television includes especially many components.

Philosophy as synthesis

Science reveals to humanity the general, and art reveals the particular. Philosophy is the bridge that connects one thing to another. Science is the stronghold of reason. Art is the territory of feelings. Philosophy, as writers joke, is no longer an art, but not yet a science. It is a synthesis of science and art, since it combines two approaches - universal and individual, connecting reason and feelings, objectivism and abstraction of science and concrete subjectivism of art.

Philosophy is capable of cognizing ecstasy in scientific concepts; it needs the coldness of scientific rationalism, the emotionality of art, and the revelations of religion. She is able to answer questions not only about universal existence as a whole, but also about man’s place in it. Synthesizing reason, feeling and faith, philosophy still brings reason to the first place.

Synthesis of arts in preschool educational institutions

Special programs have been developed for preschool educational institutions (DOU) to help the development of children's perception, based on the synthesis of arts. Three types of activities interact here: music, visual arts and fiction.

The elements mutually enriched in the synthesis of art enhance cognition and have a beneficial effect on the harmonious development of the child’s personality. Literature, painting and music comprehensively fill the spiritual essence, supply new knowledge, enrich the inner world, and give new opportunities.

Literature, music and painting cover the spiritual life of a child comprehensively and completely, and their interaction enriches each of them with new features and possibilities. In classes at preschool educational institutions, the plan provides for the inclusion of children’s artistic activities in a variety of forms: reading poetry and prose, listening to music, watching videos, drawing, dancing.

Integrated classes

The direction of the educational program of the preschool educational institution was the emotional sphere of perception of pupils. Rich artistic experience gives the child accuracy of judgment, logic, and makes his creativity expressive.

Children had the opportunity to learn that one phenomenon is reflected in different types of art. The range of musical impressions expands, the vocabulary is enriched, an idea of ​​costumes and decorations, hairstyles and makeup, and various antiques appears.

The triumph of soul music

Works of architecture, sculpture, and painting help the development of speech and are useful for the perception of musical images. For such work, it is good to stock up on samples of applied art and folk crafts, including the following: Gorodets painting, embroidery, various felted crafts, Dymkovo toys. Literature read simultaneously with the study of artistic crafts must be appropriate - folklore or stylization. And first of all, this should work on the perception of the piece of music that is planned by the program for listening at the moment. Music usually dominates this synthesis of arts.

Children need to be introduced to both opera and ballet. First, it makes sense to show sketches of costumes and scenery or program painting on a given topic, while simultaneously introducing the plot. Then, at the very first listening or viewing, the musical seed will fall on already prepared soil. Children will not be distracted from music, and it will remain a priority.

Characteristic. Church and sacred music

By definition, the music accompanying Christian worship can be called such only conditionally, at least not in the sense of absolute music, the idea of ​​which developed during the late Renaissance and Baroque and dominates (in secular society) to this day. Since prayer is the determining factor in worship, church music has (along with other liturgical requisites, for example, dishes and clothing) a ritual character and is a form of presenting prayer texts. At different times and in different Christian traditions, the musical accompaniment of worship went beyond the scope of ritual, lost its auxiliary character, and acquired the status of authorship and concert creativity. Artifacts of this kind are conventionally called “church”, but in essence they are examples of sacred music.

Story

The most ancient genre of church music is the psalm, borrowed by the original Christians from the Jews: the singing of the psalms of David in Israel was part of the temple ritual. Translated into Greek and Latin, the psalms formed the basis of church services. They were performed in unison, as was customary among the Jews, but without instrumental accompaniment. In Byzantium, a special (psalmodic) manner of performing psalms was developed, perhaps also borrowed from the Jews - slow recitation, which does not allow the expression of emotions. Together with the texts of the psalms, this manner of performance was also inherited by the liturgy.

Pope Gregory I

In Western Europe in the 8th-9th centuries, a style of liturgical singing developed, called “Gregorian” in honor of Pope Gregory I, since tradition attributed to him the authorship of most of the chants of the Roman liturgy. Single-voice Gregorian chant (or Gregorian chant) provided for different, but strictly defined degrees of chanting for various parts of the liturgy - from recitation to melodically developed and melodious constructions. At the same time, in general, the manner of performance remained strict, restrained, with smooth transitions, gradual ascents and descents. The chant strictly obeyed the text, which determined its rhythm; At the same time, the church choir contained exceptional male voices. In Gregorian chant, two types of performance are distinguished: antiphonal - alternating two choirs and responsorial - the singing of the soloist alternates with small replicas of the choir.

The basis of both Roman Catholic and Orthodox worship was biblical texts; Gradually, new parts were added to them, specially composed, but the names of the authors of these texts are mostly unknown to us: either history has not preserved them, or the authorship is disputed (such as, for example, Pope Gregory I). The musical arrangement, which was developed through the process of selection, processing and unification, was initially just as anonymous. Gregorian chant developed and became more complex along with the text of the liturgy, and already in the 9th century, early forms of church polyphony - a 2-voice organum - were formed on its basis. In its further development, polyphony replaced the Gregorian chant.

The Orthodox Church did not accept the "organ buzz"; here the only instrument was still the human voice. In the Catholic Church, for centuries, the organ remained the only accepted instrument; strings appeared much later, and already in the 17th century, during the Baroque era, a purely instrumental work for strings came into church use - sonata da chiesa (church sonata), a type of trio sonata .

Music in Catholic worship

Starting from the 10th century, tropes began to penetrate into monodic chorales - insertions of hymnographic (that is, freely composed) texts, and sequences. The Council of Trent in the mid-16th century put an end to this by banning the tropes and all sequences except four: Victimae paschali (Easter Sacrifice), Veni Sancte Spiritus (Come, Holy Spirit), Lauda Sion (Praise, Zion) and Dies irae (Day of Wrath) Tommaso da Celano, which became the main part of the canonical funeral mass (requiem). Later the Stabat Mater of the Franciscan Jacopone da Todi was also canonized.

Nevertheless, it was not possible to isolate the church from the world - at the turn of the 16th-17th centuries, the largest cathedrals already had their own instrumental chapels (which could perform outside the church), which was also reflected in the evolution of traditional genres of church music.

Motet

The motet, born in France in the 13th century, is not a purely church genre: from the very beginning, motets were also composed on secular texts, using secular melodies as cantus firmus. But the complexity of this genre of choral music, in which one melody was polyphonically combined with one, two, or even three others and at the same time each voice sang its own text, made it difficult to perceive the text. As a result, outside the church, the motet became a kind of “learned” music on which composers honed and demonstrated their skills. In the church, the motet gradually became simpler - in the 15th-16th centuries, Josquin Despres, Orlando Lasso, Giovanni Gabrieli and Palestrina already wrote single-text motets, strictly vocal, without instrumental accompaniment, choral works officially approved by the Catholic Church.

Mass

Giovanni Pierluigi da Palestrina

The earliest author's masses known to us date back to the middle of the 14th century and belong to the Frenchman Guillaume de Machaut - polyphonic choral works (more precisely, arrangements of the ordinary) “Mass of Notre-Dame” and “Mass of Tournais”. The Mi-Mi Mass of Johannes Ockeghem is considered an outstanding example of the 15th-century Netherlandish school; The earliest of the requiems that have come down to us also belongs to him.

Polyphonic arrangements of Gregorian chants of the mass were created at the turn of the 15th-16th centuries in Germany, at the chapel of Emperor Maximilian I, primarily by Henrik Isaac and his student Ludwig Senfl.

During the Renaissance, the performance of the Catholic Mass gradually evolved from the choir exclusively a cappella to the alternation of choir and organ in the alternatum manner (when each verse is first sung by the choir, then repeated by the organ) and, finally, already in the 17th century, and somewhere earlier - to choir accompanied by string instruments. Sonatas for various compositions of instruments in certain sections of the service could replace choral parts. Thus, the famous Sonata sopra Sancta Maria by Claudio Monteverdi was intended to be performed during the evening service.

However, complicated polyphonic singing and solo organ playing during worship, which became widespread by the middle of the 16th century, caused a reaction from the church leadership: the same Council of Trent decided to clear the Gregorian choral repertoire of later layers and demanded more attention from composers to the word. Experts consider the work of Palestrina, who wrote strict a cappella choral works with transparent polyphony, to be an example of “post-Tridentine” Catholic culture.

Spiritual concert

At the same time, in Venice in the middle of the 16th century, a new direction in church music was born - concert music, which was a “competition” of two or more choirs opposed to each other. The origin of this trend is associated with the name of Adrian Villart, who wrote polyphonic arrangements of psalms and biblical songs (especially Magnificats). Later, polychoral motets by C. de Pope, C. Merulo, Andrea and Giovanni Gabrieli appeared, with rich instrumental accompaniment. From the end of the 16th century until the middle of the 18th century, there was a struggle in the Catholic Church between the traditional “Roman” school (in particular, Alessandro Scarlatti and partly F. Durante continued to work in this style) - and the new direction, stile moderno (ars nova, seconda prattica ), striving to strengthen the instrumental principle, on the one hand, and, under the influence of the emerging art of opera (one of the early representatives of this direction was Claudio Monteverdi), to complicate the vocals, on the other. Representatives of this trend included purely instrumental, often of secular origin, compositions for organ or string ensembles in the Mass, introduced solo ariosed-recitative singing, etc. - that is, they moved further and further from church music itself. And in this struggle, the traditional direction eventually had to give in.

Music in Protestant worship

The significantly greater openness of the Protestant Church to the world compared to the Catholic Church and the less strict attitude towards the ritual side of church life were also reflected in its musical culture; the interpenetration and mutual influence of church and secular culture, which has existed in one way or another at all times, is much more pronounced in Protestantism; finally, the church itself, abandoning the fundamental opposition of the spiritual to the worldly, not only held divine services, but also organized concerts for parishioners, which became a practice of the Catholic Church only a few centuries later. The “godliness” of the music performed in these concerts did not oblige it to be purely church.

Johann Sebastian Bach - Cantor of St. Thomas Church

Along with the Latin language, the Protestant Church abandoned many of the rituals of the Catholic Church and, accordingly, the associated genres of church music. On the other hand, both Martin Luther himself and his followers composed their songs for church use - in their native language.

Lutherans in Germany, and later Puritans in England, expelled the organ from their use as an attribute of the papist church; in Germany, moreover, the Thirty Years' War led to the impoverishment of the country and the decline of musical culture; the mass was performed exclusively a cappella. But in the second half of the 17th century, the organ returned to the Lutheran Church, and from that time on, it paid much more attention - compared to the Catholic Church - to music itself, giving more rights to accompanying instruments, primarily the organ. The responsibility for the organ accompaniment of a mass or chorale lay with the organist or cantor, who could either write the music themselves or use the works of others, including the court composer Michael Praetorius.

Protestant Mass

Of the six parts of the Catholic Ordinary, the Protestant Church retained only the first two parts - Kyrie eleison (Lord, have mercy) and Gloria (Glory). At the same time, the function of the organ was not limited to simply accompanying the choir: organ preludes preceded and completed the service; preludes, as well as fantasies, ricercars, toccatas could be performed during the service - something that the Roman Catholic Church struggled with developed freely in the Protestant Church.

Protestant chorale

Having shortened the Catholic Mass, Martin Luther introduced the so-called “German Mass” into the divine service; in his work “Deutsche Messe” (1526), ​​he even recommended that small towns limit themselves to the “German mass”, which consisted exclusively of German chants, later called the Protestant chorale.

In this part of the service, according to Luther's plan, the community should sing songs and hymns of a religious nature in chorus; Accordingly, the musical arrangement of the texts, which in some cases were original compositions, in others - texts from Catholic services translated into German, should be simple, accessible to non-professional performers - which prompted the Protestant Church to return to the traditions of monophonic Gregorian chant.

The Protestant chant combined several traditions: in addition to the Gregorian chant - the traditions of the old forms of German spiritual song, Leise (grew from the exclamations of the Kyrie eleison) and Rufe (where short stanzas of the chorus alternate with long stanzas of the refrain), as well as songs of the 15th century in the style of the Minnesingers and early Mastersingers. As in the mass, the organ played an important role here: a prelude on chorale themes preceded this part of the service, and during the course of it various pieces could be performed, often improvisational and, in contrast to the chorale itself, polyphonic.

When it comes to Protestant worship, it is not always easy to say what is actually church music here, and what is music admitted into the church thanks to its openness: the genres of toccata, ricercar, prelude and fantasy were not born in the church, and they were not only performed during services, but also in concerts; and even for the chants of the “German Mass” Luther often chose the melodies of secular songs popular at that time. One way or another, music for the use of the Lutheran Church was written by the largest German composers of the 17th-18th centuries, from Michael Pretorius and Heinrich Schütz to J. S. Bach.

In the Anglican Church, after its separation from Rome in 1534, the mass was performed in Latin for a long time, and accordingly, traditional genres continued to develop - mass and motet; many works in these genres were created by William Bird. However, already in the 30s of the 16th century, T. Sternhold and J. Hopkins translated the psalms into English and, together with other composers, composed new melodies for them. At the turn of the 16th-17th centuries, polyphonic arrangements of psalms were also created. An original genre of church music also appeared in England - anthem, a chant in which solo parts alternate with choral parts, performed accompanied by an organ or string instruments. Thomas Morley, William Bird, O. Gibbons, Henry Purcell, and G. F. Handel wrote works in this genre.

In a fully formed Orthodox service, singing accompanied all its parts - liturgy (mass), vespers and matins (on the eve of major holidays - all-night vigil), etc., rites of baptism, wedding, burial, as well as services - prayers, memorial services, etc. Even in Byzantium, different styles of singing - chants - developed for different genres and different parts of the service.

Chants

The simplest manner of performance was psalmody - chanting (liturgical recitative); the psalmody was intended for the reading of the Gospel, the Apostle and the Prophecies.

The most difficult thing was kondakar singing- a wide chant, decorated with melodic inserts. In Byzantium, it was used for the most solemn chants of the service - kontakia (hymns of significant volume, in which the stanzas performed by the soloist were interspersed with choral refrains) and cynics. This virtuoso singing was also cultivated in Kievan Rus - for the performance of cinematic songs, verses from psalms and choruses to them. But the complexity of kondakar singing eventually became the reason for its disappearance - already by the 14th century.

Kondakar singing is sometimes considered as a variation of Znamenny chant, which dominated Russian Orthodox worship from the 11th to the 17th centuries. Depending on the nature of the chant and its place in the service, three types of chant were used: small znamenny, characterized by simple melody, built on alternating musical lines, from 2-4 to 9 or more. The central place in the service was occupied by the Znamenny, or pillar, chant itself, which consisted of chants; in the chant, various chants were combined, forming a single line of melodic development. The choice of chants and their sequence determined the individual form of the chant. The Great Znamenny chant was distinguished by its richness and development of melody, and was usually used in the performance of festive stichera.

All these chants were monophonic; in the middle of the 17th century, new monophonic chants were added to them - Kiev, Bulgarian and Greek. However, already in the 16th century, early forms of polyphonic singing arose in Rus', and in the 17th century, the so-called partes polyphony spread, which very soon replaced znamenny singing.

Complex partes singing, in which the number of voices usually ranged from 3 to 12, but could reach 48, contributed to the further development of not only church musical culture, but also secular one. Polyphonic arrangements of the znamenny chant appeared, and then a new genre - the partes concert a cappella.

Russian spiritual concert

The spiritual concert, which was a “competition” of two or more choirs opposed to each other, came from the West, directly from Catholic Poland, to Ukraine in the 30s of the 17th century, to Russia half a century later, and already developed in the traditions of Russian partes singing through the efforts of a number of composers. This is primarily Vasily Titov, author of numerous concerts and services; Concerts by Fyodor Redrikov, Nikolai Bavykin, and Nikolai Kalashnikov have also been preserved.

Unlike Western European ones, the Russian spiritual concert, in accordance with the traditions of worship, did not involve instrumental accompaniment. Classic examples of works of this genre in the second half of the 18th century were created by Maxim Berezovsky and Dmitry Bortnyansky: this is a large-scale choral work with contrasting methods of presentation, with a comparison of 3 or 4 different parts.

Notes

Links

• // Encyclopedic Dictionary of Brockhaus and Efron: In 86 volumes (82 volumes and 4 additional ones). - St. Petersburg. , 1890-1907.

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Singing

The secular works of outstanding Russian composers organically included images of Orthodox spirituality, and found a vivid embodiment of the intonation of Orthodox church music. The introduction of bell ringing into opera scenes became a tradition in Russian opera in the 19th century.

Getting to the roots

Orthodox spirituality, possessing high value guidelines, carrying moral purity and inner harmony, nourished Russian music, in contrast, representing and exposing the insignificance of worldly vanity, the baseness of human passions and vices.

The outstanding heroic-tragic opera by M. I. Glinka “A Life for the Tsar” (“Ivan Susanin”), the drama “The Tsar’s Bride”, folk musical dramas by M. P. Mussorgsky, epic operas by N.A. Rimsky-Korsakov and others, can be deeply comprehended only through the prism of Orthodox religious culture. The characteristics of the heroes of these musical works are given from the point of view of Orthodox moral and ethical ideas.

Melos of Russian composers and church chants

Since the 19th century, Orthodox church music has penetrated abundantly into Russian classical music at the intonation and thematic level. The quartet-prayer sung by the heroes of the opera “A Life for the Tsar” by the brilliant Glinka is reminiscent of the partes style of church chants, the final solo scene of Ivan Susanin is, in essence, a prayerful appeal to God before his death, the epilogue of the opera begins with a jubilant choir “Glory”, close to the church genre "Multiyears". The solo parts of the heroes in the famous musical folk drama about Tsar Boris Mussorgsky, revealing the image of Orthodox monasticism (Elder Pimen, the Holy Fool, the pilgrims), are permeated with the intonations of church chants.

Severe choirs of schismatics, designed in the style, are presented in Mussorgsky's opera Khovanshchina. The main themes of the first parts of the famous piano concertos of S.V. are based on the intonations of Znamenny singing. Rachmaninov (second and third).

Scene from the opera “Khovanshchina” by M.P. Mussorgsky

A deep connection with Orthodox culture can be traced in the work of the outstanding master of the vocal and choral genre G.V. Sviridova. The composer's original melody is a synthesis of folk song, church canonical and cantonic principles.

Znamenny chant dominates Sviridov’s choral cycle “Tsar Fyodor Ioannovich” - based on the tragedy by A.K. Tolstoy. “Chants and Prayers,” written on church texts, but intended for secular concert performance, are Sviridov’s unsurpassed creations, in which ancient liturgical traditions organically merge with the musical language of the 20th century.

The bells are ringing

Bell ringing is considered an integral part of Orthodox life. Most composers of the Russian school have a figurative world of bells in their musical heritage.

For the first time, Glinka introduced scenes with bell ringing into Russian opera: the bells accompany the final part of the opera “A Life for the Tsar.” The re-creation of bell ringing in the orchestra enhances the drama of the image of Tsar Boris: the coronation scene and the death scene. (Mussorgsky: musical drama “Boris Godunov”).

Many of Rachmaninoff’s works are filled with bell-like sounds. One of the striking examples in this sense is the Prelude in C sharp minor. Wonderful examples of recreating bell ringing are presented in the musical works of the 20th century composer. V.A. Gavrilin (“Chimes”).

And now - a musical gift. A wonderful choral Easter miniature by one of the Russian composers. This is where the bell-like sound manifests itself more than clearly.

M. Vasiliev Troparion of Easter “Bell”

MUSIC AND OTHER ARTS

Lesson 14

Topic: Choral music in the temple.

Lesson objectives: to reveal the concept of choral music; develop the ability to distinguish spiritual music from secular music.

Materials for the lesson: musical material, portraits of composers, reproductions of paintings, photographs.

During the classes:

Organizing time:

The lesson begins with the work of D. Bortnyansky “The Cherubic Song” in Spanish. children's choir "Spring".

Read the epigraph to the lesson. How do you understand it?

Write on the board:

“Nothing elevates the soul so much, nothing inspires it so much,
does not remove from the earth, does not free from bodily bonds,
does not instruct in philosophy and does not help to achieve
complete contempt for everyday things,
like a consonant melody and rhythm-controlled divine singing.”
(John Chrysostom)

Lesson topic message:

Guys, imagine the choral sound... I won’t be mistaken if I say that most of you have imagined some kind of sacred music. Maybe folk choral singing or an opera chorus, etc. came to mind. All these choral genres have something in common. It is about choral genres and choral singing that we will talk in class.

Work on the topic of the lesson:

1. Origin of choral music.

The word “choir”, which comes from the Greek “choros” and the Latin “chorus”, which means crowd, assembly, refers to a group of people performing vocal music and works composed for this group. Of course, not every group can be called a choir. The choir has a significantly larger number of performers.

Let's remember what kind of choirs there are, let's start with the composition of the performers. Children's, men's, women's, mixed - when both children's, women's, and men's voices participate in the choir at the same time or in different combinations.)

That's right, what other types of choirs are there? (Single-voice, when everyone sings one melody together, and multi-voice, when each voice has its own melody.)

Guys, what is another name for monophony? (Unison.) That's right. Russian singers created unique forms of polyphonic singing. They color the main melody with different sub-voices, which vary freely. It turns out incredibly beautiful. And some choirs sing with and without accompaniment, I think you noticed this. What is unaccompanied singing called? (Singing without accompaniment is called a cappella.)

What is known about the earliest choral music is that it was an integral part of cult group dance. Round dances, which are well known to us, are the most ancient type of collective music-making, associated with the rites and rituals of different peoples. And since the ritual side of life was not separated from the daily activities of man, then from this indivisible root of choral music came two related principles: spiritual and secular.

Where do you guys think choral music came from? (Probably, like the song, from life.) It arose where people gathered for joint work and recreation: first in folk round dances, during harvests and haymaking, at peasant holidays and simply in a calm home environment, they wanted to dream and talk about life.

Folk choral music, like folk one-voice songs, grew directly from life, therefore its themes, plots and images tell us about the character of people and the places where they lived, as vividly and authentically as all folk art.

However, choral music also has a lot of its own. She was born in the desire of people for unity, she knew how to unite herself, which is why she is distinguished by the special power and coherence of her sound. In folk choral singing one can hear the noise of harsh forests, the mighty flow of great rivers - the whole multifaceted life of the people. Now we will listen to the Russian folk song “There is a cliff on the Volga.”

Listening to a piece of music: Russian folk song “There is a cliff on the Volga” performed by the Volga Russian Folk Choir named after. P. M. Miloslavova.

What can you say about the song played? ? (The Russian folk song “There is a cliff on the Volga” was performed by a mixed choir. The music sounded stern, serious, slow. One imagines this high cliff, all overgrown with forest; an eagle flying in to torment its victims. Such a powerful, mighty sound that touches the soul of everyone person.)

2. Choral singing and religion.

Cult choral singing was extremely developed in the second millennium BC in Ancient Egypt, Babylon, Palestine, Syria, India, Ancient Greece and Ancient Rome. Christianity inherited this ritual. However, with the division of Christianity into Catholicism and Orthodoxy, different musical traditions developed in each of these churches.

Thus, the Roman Catholic Church continued the ancient custom of using musical instruments to accompany choral singing. The Byzantine Orthodox Church developed an unaccompanied "a cappella" church choral style and banned instrumental music in the church.

Since ancient times, the church temple has been a temple of music. Parishioners gathered in churches for joint prayer, and in their singing one could hear echoes of heavenly harmony, sincerity and purity of feeling living in people despite their misconceptions. Music turned the souls and feelings of believers to God better than words. After all, many ordinary people do not always understand the words of prayers. Another thing is music, with the help of which the hearts of people turned to God in a single impulse.

Listening to the musical work “We Sing to You” performed by the male choir “Orthodox Singers”.

Russian choral music has extremely rich traditions, associated primarily with folk art. Church music in old Russia did not lose touch with folk life. The Church has never remained aloof from the main events of human life; the sacraments of baptism and communion, weddings and blessings of a person on his last journey were performed in the church. Church holidays were celebrated everywhere in Rus'; they were part of the way of Russian life.

Give examples of church holidays. (Christmas, Easter, Trinity, Annunciation, etc.)

Yes, the image of Russia has always been associated with the church, with the ringing of bells, with church singing.

Students remember the song “Evening Bells” to the words of I. Kozlov, the painting of the same name by I. Levitan.

Listening to the musical work “Evening Bells” performed by the choir of the Novospassky Monastery.

Conversation with children about the pictures presented in the textbook.

Read the text on page 93 of the textbook (1st paragraph).

Listen to the names of Moscow streets - they still contain the names of city monasteries and churches: Vozdvizhenka (after the Church of the Exaltation of the Cross), Yakimanka (after the church in honor of Joachim and Anna - the parents of the Mother of God), Rozhdestvenka, Petrovka, Sretenka...

The appearance of Russian cities with their white stone temples and churches is captured in the music of many Russian composers. Among the brightest musical samples is the introduction to M. Mussorgsky’s opera “Khovanshchina,” called “Dawn on the Moscow River.” Mussorgsky seemingly gave the orchestral introduction the character of a genre film.

Dawn breaks over Red Square. The roosters are crowing. The trumpets of the awakening archers echo with them. A bell rings. A bright, sunny morning comes into its own. All these moments are embodied in music. From a thin web of sounds, as if recreating the transparency and freshness of morning colors, a song theme of extraordinary nobility and purity of melodic outlines grows.

Close in its composition and principle of development to a folk song, this theme is the embodiment of the spiritual beauty of the Russian people. Calm and majestic, it reflected both the immensity of Russian open spaces and the free surface of Russian rivers.

At the same time, it contains an excited lyrical feeling that awakens in a person’s soul at the thought of his native country. Thus, picturesqueness is intertwined in music with the expression of lyrical feelings, with deep psychological content. Through a private picture from the life of old Moscow, the composer embodied a much broader, generalized image - the image of Rus' and the Russian people.

Listening to a piece of music: introduction to M. Mussorgsky’s opera “Khovanshchina” “Dawn on the Moscow River”.

However, not only the external appearance, but also the interior decoration of the temple was marked with the stamp of “great beauty.” Church art united all the arts. It was created through the efforts of architects and painters, musicians and singers. Everything in him was integral, everything - from the structure of the temple to the melody of the chant - was subordinated to one idea, the idea of ​​​​spiritual purification, ascension.

The faith in Rus' is called Orthodox. One of the features of Orthodox worship is choral singing without instrumental accompaniment. For many centuries, Orthodox singing was as integral a part of Russian culture as the architectural appearance of churches, cities and towns.

The close cohesion of choral singing with the entire way of Russian life was associated with the annual liturgical cycle, which was strictly observed throughout Rus'. Each event of this cycle corresponds to a special service and, accordingly, its own circle of chants. Vespers, Matins, Liturgy are the main daily services (evening, morning and afternoon), which are served without interruption on major holidays. The combination of services was called the “All-Night Vigil.”

“Our Father who art in heaven!
Hallowed be Thy name;
Thy kingdom come;
Thy will be done on earth as it is in heaven;
Give us this day our daily bread;
And forgive us our debts, just as we forgive our debtors;
And do not lead us into temptation, but deliver us from evil;
For Yours is the kingdom and the power and the glory forever. Amen"

During services many prayers are performed. One of the main ones is “Our Father” (also the Lord’s Prayer) - the main prayer in Christianity, commanded, according to legend, by Jesus Christ himself. The musical appearance of this chant is traditionally strict; a recitative style predominates in it, which emphasizes the importance of every word of this prayer.

Listening to a piece of music: “Our Father.”

The music of the Christian church gave people, believers and non-believers, wonderful examples of musical art. The best composers wrote music for the church. Church music has become the adornment of concert halls all over the world.

3. Vocal and choral work.

Now we will continue to learn the wonderful romance “Lark”. Who are the authors of this romance? (Music written by M. I. Glinka, lyrics by N. Kukolnik.)

Work is being done on intonation, breathing and articulation.

Lesson summary:

Singing in a choir is one of the greatest human joys. The developed choral culture of a people testifies to the development of its general culture, for choral music has a powerful ennobling effect on a person.

Questions and tasks:

1. Why do you sometimes want to sing alone, and sometimes together with other people, in a choir?
2. Name the different types of choral singing.
3. Prepare a short story about the activities of a choir you know.

Presentation

Included:
1. Presentation - 24 slides, ppsx;
2. Sounds of music:
Bortnyansky. “Cherubic Song” from “The Three-Part Liturgy” (in Spanish by the children’s choir “Spring”), mp3;
Mussorgsky. “Dawn on the Moscow River” from the opera “Khovanshchina” (fragment), mp3;
We sing to you (in the Spanish male choir “Orthodox Singers”), mp3;
Chaikovsky. Our Father, mp3;
Evening ringing, mp3;
There is a cliff on the Volga, mp3;
3. Accompanying article - lesson notes, docx.

Church music, in the narrow sense of the word - music sounding in Christ. worship; in a broader sense, also music used in paraliturgical rites and generally associated with the church. life and Christ. By faith.

Origins

Early Christ. liturgist music continued the practice of Judas. cult music. About the “psalms, hymns and spiritual songs” of the first Christians. communities (Eph 5:19; Col 3:16) says the ap. Paul. Perhaps at that time, along with v.-z. New Christians also existed in hymnographic texts. chants.

A single example of Christ. hymn (written in classical Greek notation), represented by a fragment of a manuscript of the 3rd century. from the Oxyrhynchus papyri, indicates that the music that was common among Christians at that time had a number of properties that later became characteristic of M.Ts. Middle Eastern region (diatonic with modal formulas, in many ways similar to later church modes), and has nothing in common with the music of classical Greece, as far as can be judged from the few surviving examples and descriptions.

Apparently, the liturgy of the first Christians was dominated by the singing of the entire community. Over time, antiphonal singing (antiphon), which originated in ancient times in the Middle East and became widespread in the 4th century, gained the greatest popularity; Ambrose introduced it in Mediolan (modern Milan) “following the model of the East,” and soon it took root throughout the West. Generally accepted music. It also became a practice to sing litanies and psalms with a refrain (responsory), when the department. invocations or poems (stanzas) are sung by a soloist (singer, reader, deacon), and the refrain is sung by a choir (the entire congregation or a specially designated group of it).

From the monuments of the 4th century. Syriac-hierus. area it is clear that in the liturg. a significant part of the singing still belonged to the entire congregation. On the other hand, during the same period, the 25th canon of the Council of Laodicea forbade anyone other than “the appointed choristers ascending to the pulpit” to sing in church. Apparently, the singers received special dedication from the bishop. In the West, the Council of Tours 567 allowed singing only to the choir of clergy, but it is known that the general public. singing in church remained in the community for a long time. Regions.

A special manifestation of the church. music culture since ancient times has been chanting, with the greatest melismatic design of texts that have the character of a solemn proclamation (Gospel, Exultet and etc.).

From the 4th century Hymnographic creativity, in which poetry and music closely coexist, developed intensively: the authors of hymns were both poets and composers. In different regions of the spread of Christianity, poetry and music. the features of hymnography are largely determined by local traditions, which, in turn, were modified due to fundamentally new conditions (for example, Ambrose modified the Latin poetic meters for the convenience of singing).

Among the Church Fathers of the first centuries, the prevailing attitude was approval for the use of singing in prayer and liturgy, although some of the Fathers were wary of music; for example, Jerome insisted that in the church. singing ch. the part is the word, not the melody, and the house of God should not be turned into a theater ( Commentary on the Epistle to the Ephesians 5, 19).

Western tradition. Middle Ages.

Becoming Roman traditions of M.ts. associated with the name of Pope Gregory I the Great. It is in his honor that the system that later became dominant is called Gregorian chant. In general, in the West for many years. centuries there have been various regional church systems. chants (Ambrosian, Gallican, Mozarabic, etc.). The earliest reliably deciphered records. musical notations - samples of Gregorian chant. 9th century The question is to what extent they go back to the original Roman. chorale remains controversial.

With the approval of the Gregorian chant in almost the entire West, its modifications took shape, both local (Benevento, Salisbury, etc.), and subsequently, individual monastics. orders (Cistercian, Dominican).

Monuments IX-X centuries indicate a wide variety of singing material. To the standard repertoire were added strops (insertions into the canonically fixed Gregorian chant) and sequences, performed on certain celebrations and sometimes containing muses. features of local origin. Collections of tropes were formed (the most famous is Winchester Troparium XI century).

In addition to monophony in M.Ts. West from the 9th century. polyphony developed, the early forms of which are designated by the term organum. Over the course of several centuries it has undergone a noticeable evolution: in the ΙΧ-Χ centuries. This parallel organum in which the melody of the chorale is duplicated in a fourth; in XI - mid. XII century - free organum where the opposite and indirect monorhythmic movement of voices is used; in the 12th century - melismatic(for one chorale sound - and, accordingly, for one syllable of the text - there are several counterpoint sounds); in the end XII - beginning XIII century - metered, with counterpointing voices to the chorale (2, 3 or 4), organized in a system of rhythmic modes. The theory also developed in parallel. understanding the organum; treatises were devoted to music, among which an important place belongs Micrologist Guido d'Arezzo.

The first school of counterpoint in Moscow, which spread to several. Western countries, has become Notre Dame School, originated in Paris. New leading genres and types of composition took shape in it: conductor, distinguished by a melodic basis not borrowed from Gregorian chant and polyphony, built on the principle of “note against note”, with a simple rhythm that corresponds to the syllabic division of the text; clause- polyphonic chant with repetition of a chorale melody and its rhythmization in ostinato figures, etc. In the 13th century. Among the polyphonic chants, the special nature of the development of the trope came to the fore - the motet (later this term was fixed as the name of a special genre). Polyphony also developed, in which voices represent a superstructure over cantus firmus(the leading melody serving as the compositional basis). The number of votes has also increased; Notre Dame school composer Perotin composed 3- and 4-voice works for the first time. The modal rhythm was replaced by the mensural rhythm.

The style that took shape at the Notre Dame school eventually received the name ars antiqua(ancient art). Another style that was opposed to it - ars nova(new art) - became characteristic of the West. music in the 14th century It brought secular song genres to the fore, formed individual compositional styles, and reduced the number of anonymous works. National schools, primarily French (Guillaume de Machaut) and Italian. Mensural rhythms developed significantly, complex rhythmic patterns appeared, and the rise of chromaticism destroyed the diatonic basis of the church. Ladov.

In the XV-XVI centuries. came to the fore Dutch school(G. Dufay, J. Okegem, J. Obrecht, Josquin Depres, O. di Lasso), in which, in particular, the so-called strict style; works for choir a sarpella were distinguished by the equality of voices with complex contrapuntal connections. Numerous were created. Ordinaries of Masses, where Ch. the method of unification became cantus firmus. At the same time, the genre became widespread Magnificat.

Netherlands school that made a significant contribution to music. the culture of the Renaissance took root outside the region of its original existence: in Italy (J.P. da Palestrina), Spain (C. Morales, T.D. de Victoria), Germany (L. Senfl), England (W. Bird).

Although throughout the history of the Church priority in M.Ts. was reserved for living voices, not muses. instruments, in the West the use of the latter in liturgy was popular until the 12th century. In 1135, the Council of Trier banned the practice of playing music. instruments during worship, but they did not disappear from the M.C. Fully.

Since the 14th century. the organ took a special place among the muses. instruments and became a desirable element of music. design of the liturgy - initially as an accompanying instrument, and later as a solo instrument. There was even such a phenomenon as organ alternation- alternating sound of the choir and organ, when the organ played the section. parts of chants that would be sung by a choir.

Rel. chants in new (national) languages ​​are definitely known in the West already at the end. I thousand. They received particular distribution among the Germans. peoples, which, apparently, was initially encouraged by the church. hierarchy as a contrast to pagan song culture.

In line with the Catholic Traditions of the presence of Christ among a number of European peoples. song culture was subsequently reflected in the so-called. missa cantata(replacement of the Ordinary’s chants with poetic paraphrases in modern language - cf. German Mass F. Schubert, etc.).

Catholic Church in New and Contemporary Times.

The Council of Trent considered the questions of the liturgists. music at the 22-24th sessions. According to its decisions, M.ts. should avoid secular and sensual character; songs in modern languages ​​were excluded. languages, as well as long organ pieces. During this period, the Church received special encouragement roman school polyphony, associated primarily with activities in Rome. St. Peter's Basilica J.P. yes Palestrina, whose work was considered a model of truly church. use of polyphony. Roman style. school with its enlightened contemplation was officially established as corresponding to the original practice (it was called “strict”, “serious”, “contrapuntal”, “ancient”).

The ideas of the Council of Trent developed in a number of other centers in Italy, incl. in Milan, where, on behalf of Charles Borromeo, V. Ruffo wrote choral music that would best suit the wishes of the cathedral.

To Rome the school belonged to G. Frescobaldi, O. Benevoli, D. Scarlatti. The work of G. Allegri and F. Foggia, in whose works the influence of Florentine monody was also evident, was carried out in its vein. To Rome school, new genres of music took shape, incl. oratorio (G. Carissimi, A. Stradella). Her style also took root outside of Italy, in particular in Spain in the work of T.L. de Victoria. In the Northern countries Europe in the XVI-XVII centuries. its influence turned out to be less: in Germany, loyalty to the traditions of the Netherlands remained for a long time. schools (L. Senfl, H.L. Hassler); in England, J. Taverner demonstrated greater freedom and complexity of polyphony than his contemporaries.

Despite the official encouragement of a strict style, Gregorian chant faded into the background for a long time, since it did not correspond to the established ideal of M.Ts. At the same time, the genre became widespread short mass(missa brevis), in which the execution of parts of the ordinary does not take much time, and the polyphony is uncomplicated.

For M.c. The Baroque era is characterized by the influence of opera, which was one of the most popular muses. genres. In Italy at the beginning. XVII century stood out stile antique(ancient style), preserving plural. features of choral writing of the 16th century, and style moderno(modern style), which is characterized by chromatic harmonies, as well as the contrasting use of soloists, choir and instruments; The brightest representative of the first is C. Monteverdi, the second - G. Gabrieli. K con. In the 17th century, with the development of Neapolitan opera, solo arias were introduced into motets (by that time this word had come to mean any chant in the Latin liturgical text, except parts of the Ordinary of the Mass), which actually turned them into large cantatas of several parts. From the beginning XVIII century similar music Parts of the ordinary of the mass also became embodied: some masses were long cantatas, interspersed with solo and choral numbers, sometimes preceded by overtures. This evolution of M.c. had in Italy and many others. other countries have serious consequences for Catholics. divine services: at ceremonial services, the sacred rites were practically replaced by music, becoming a barely noticeable addition to the music. Concert.

In France in the 17th-18th centuries. development of M.c. to a certain extent due to the requirements of the royal court, in accordance with which the genre was developed solemn low mass(messe basse solennelle)- vocal-instrumental motet for performance in some places of service. One of my favorite genres has become Tenebrae(parts of Dark Matins set to music), as well as ThoseDeum. Among the leading creators of M.ts. this period in France - A. Dumont, M.A. Charpentier, J.B. Lully, F. Couperin.

Although the strictness of M.C. was officially dominant, in the department. church places the authorities supported the music. magnificence. In some departments and cathedrals, instrumental chapels were created, which played at masses and vespers, accompanying polyphonic vocal numbers; in some places polychoral music was also used (the pinnacle of complexity is Salzburg Mass Benevoli for 53 votes).

Replacing singing with playing the organ was practiced: instead of entrance chants, offertories and sacramental chants, organ pieces were often performed, and the replacement of the ordinary chants with playing the organ gave rise to the genre organ mass. In the 17th century in Italy, Austria and South. The genre has taken root in Germany sonatas after the Apostle(an instrumental piece that is played between the reading from the Apostle Epistles and the reading of the Gospel). Later it expanded to the so-called. church sonata(sonata da chiesa), which usually (in particular, in A. Corelli) consists of 4 parts: a slow part at the entrance; faster - after apost. messages; again slow to offer the Gifts; at a flexible pace - after the dismissal, when the laity usually received communion.

Enz. Pope Benedict XIV Annus qui (1749) became the first in church history. document with a detailed overview of the liturgies. music and guidance in this area. This encyclical addressed, in particular, the question of the liturgist. using music instruments: in addition to the organ, only trombone, large and small tetrachord, flute, lyre or lute are permissible, provided that they are used to support singing (however, it is emphasized that not only singing, but also musical instruments can help attract ordinary people to comprehend the spirit. true). Music instruments were not supposed to drown out the text, so the use of harmonic modulations and trills, which made it difficult to hear the words, was prohibited.

All R. XVIII century in M.C. the principles of classicism came, which was especially clearly manifested in the works of composers Mannheim school(F.Ks. Richter, G. Vogler), as well as a number of Italians. authors (B. Galuppi, D. Cimarosa) and reached the pinnacle of development in Viennese classical school(W.A. Mozart, J. Haydn, L. van Beethoven, F. Schubert), church. whose works are distinguished by a balanced logic of form combined with the expressiveness of the melody.

From the end XVIII century At solemn services, op. (including masses) of cantata type; at some solemn services a full classical orchestra was used, playing an increasingly independent role, as can be seen in the solemn masses and some motets by Mozart and J. Haydn; this trend reached its apogee in Solemn Mass Beethoven (still intended for worship, and not for concert performance).

The Viennese school also had opponents who were inclined to revive stile antico, which in Austria was promoted by Josephism with its tendency towards simplicity of worship (I.M. Haydn belonged to this trend).

From the beginning XIX century penetration into M.c. The stylistic principles of romanticism brought a pronounced subjective beginning, as well as a noticeable national. coloring Works by romantic composers (F. Schubert, K.M. Weber, G. Rossini, R. Schumann, F. Mendelssohn-Bartholdy, G. Berlioz, A. Thomas, G. Verdi, C. Saint-Saëns, etc.) for liturgical the texts are often overtly concert-like in nature, or even intended for concerts rather than worship. However, some authors were looking for more church. forms of music language (especially F. List, S. Frank, A. Bruckner, C. Gounod, A. Dvorak). The organ music center has developed dramatically. (M. Reger, Liszt, Frank).

If previously the participation of women in the church. singing was limited only to female monks. communities, then in the 19th century. The singing of mixed choirs became almost universal.

From the 2nd third of the 19th century. activities in France of P. Guerange and the Solem Abbey founded by him, at which it was established Schola cantorum, contributed to the revival of Gregorian chant. In 1868 in Germany F.Ks. Witt created the Society of St. Cecilia, whose goal was the development of M.c. in accordance with official the guidelines of the Church.

Pope Pius X, who dedicated Mts., showed serious concern for the organization of appropriate liturgical music in the Catholic Church. motu proprio from 11/22/1903 Tra le sollecitudini. According to this document, M.ts. “must possess in the highest degree the qualities appropriate to the liturgy, namely, holiness and goodness of forms” and, in addition, “universality” (paragraph 2). The highest example of M.ts. Gregorian chant was recognized (item 3); classical polyphony was highly appreciated, especially Roman. 16th century schools (clause 4). Modern the writings could be included in the liturgy. use if they have “goodness, seriousness and importance” (paragraph 5). Works of the “theatrical style” were declared “diametrically opposed to Gregorian chant and classical polyphony,” which were “legislative for all good church music” (paragraph 6).

One of the chapters. requirements were compliance with M.ts. her liturgist. context and purpose of worship. Specific texts prescribed by the liturgical books had to be executed: arbitrary notes should not be introduced and the order of words should not be changed; with the exception of some specific places of worship, it was not appropriate to sing any other texts (paragraphs 8-9). The use of modern chants in worship was completely excluded. languages ​​(n. 7), but they were permissible during processions outside the temple (n. 21).

Pope Pius X spoke, among other things. about the possibility of restoring, like the practice of the early Church, the singing of the Dep. Gregorian chants by all the people for their more active participation in the liturgy (item 3). Solo singing was allowed, but should not prevail over choral singing (clause 12). Since “choristers perform a truly liturgical service in the church,” the singing of women in the church. choir was excluded; the high vocal parts were to be “performed by boys, according to the most ancient custom of the Church” (paragraph 13). It was recommended that choristers use special churches. robes (item 14). Along with the organ, limited use of other music was allowed. instruments (items 15-18), but piano and drums were excluded (item 19).

Finally, the document of Pius X emphasized the need to study M.c. in seminaries (paragraphs 25-26) and the creation of educational institutions for teaching M.c. (p. 27-28).

This document marked the beginning of the publication of singing books and collections of Gregorian chants, and the publication of organ anthologies also expanded. In 1930, S. Thurnmire composed a cycle Mystical organ(which in subsequent years became the core of the katal, liturgical repertoire) - organ pieces for use at large masses, the basis of which were Gregorian melodies. That. a new flowering of katal, organ music began.

However, the instructions of Pius X were in reality little taken into account in everyday parish practice. Some of them were openly ignored with the blessing of local churches. authorities due to the discrepancy between the capabilities and the prevailing realities (in particular, women were allowed to sing in church choirs). Gregorian chant was almost never introduced into the repertoire; works of the 18th-19th centuries predominated. and pious songs in national Languages.

In professional music beginning. and ser. XX century, which presupposed liturgical context, a variety of trends emerged: a bright national. color (L. Janacek, K. Szymanowski, Z. Kodai) or elements of avant-garde (D. Ligetti); creation of works in a neoclassical manner or with reminiscences of the Middle Ages. music (I. Stravinsky, P. Hindemith, K. Orff); the use of atonality (E. Krenek) and multimodality (O. Messiaen).

At the same time, the new development of rel. song culture in a number of countries accompanied the liturgical movement and prepared liturgical reform, incl. in the area of ​​M.c. (one of the significant milestones in France was the initiative of the Jesuit priest J. Gelineau to introduce into the liturgy the singing of psalms in French, set to new melodies).

Problems M.ts. were also touched upon in the apostle. const. Pope Pius XI Divini cultus sanctitatem(1928) and enc. Pope Pius XII Musicae sacrae disciplina(1955).

At the Second Vatican Council in Const. about worship Sacrosanctum concilium M.ts. is dedicated to ch. 6. The Fathers of the Council declared that “sacred music will be the more holy the more closely it is connected with the liturgical action: either more sweetly expressing prayer, or promoting unanimity, or enriching sacred rites with greater solemnity” (n. 112). Pastors are called to take care that “in every sacred ceremony with singing, the entire congregation of believers can take the active part that is characteristic of it” (paragraph 114; cf. paragraph 118). It is necessary to preserve and develop the treasury of M.Ts. (clause 114); Gregorian chant, which is recognized as characteristic of Rome. Liturgy, “in liturgical actions, with other conditions being equal, should be given a primary place,” however, “other types of sacred music, especially polyphony, are not excluded” (paragraph 116).

The Council called for “zealous support of choirs, especially at cathedrals” (paragraph 114), to provide music. education of future pastors and monastics, taking care of the training of teachers of the M.C. Pointing to the traditional value of the organ in the Catholic Church, Lat. ritual, the cathedral also allowed the use of other muses. instruments in worship (item 120). Cathedral Const. opened up wide possibilities for the inculturation of M.c. In 1967, in the instructions of the Congress. rituals Musicam sacrum a detailed development of the basics was given. norms of reform M.ts.

Since 1960 in the church. the practice included the composition of “mass for the people” and other chants that promote the active participation of believers in worship; among their authors are J. Gelineau, L. Deys, G. de Sutter, J. Vermulst, X. Tompkins.

Nowadays there are various international associations whose goal is to exchange experience in the development of medical centers. (Universa laus, Consortium internationale “Musica sacra”, etc.).

In modern musical-liturgist. In practice, significant changes are taking place in the Catholic Church. In addition to the return of traditional muses to worship. instruments that have never been used before begin to appear in it - electric guitar, synthesizers, drums. Intensively developed and included in the church. life music intended for youth.

In parallel, there is a desire to develop traditional M.c. with a new understanding of it, as well as a search for that valuable thing in it that was undeservedly forgotten. In Christ. heritage and music In the traditions of various peoples, what is appropriate in the liturgy and can express the spirit of Christ is selected. worship. When creating fundamentally new opus. This refers to the task of matching the melody and style to the traditions of the liturgists. music. Many people work in this direction. church composers of recent decades: J.M. Rossi, J. Berthier, P. Inwood, M. Joncas, M. Michalets, K. Mrowiec and others. Successful experiences with the use of Eastern Christ are known. music traditions, incl. rus. Orthodox everyday life (for example, the French composer and Dominican monk A. Guz).

Reform of M.ts. with undeniable positive results, it had many “side effects”. For example, a call to a public singing in plural parishes resulted in the abolition of choirs, despite the fact that in const. Sacrosanctum Concilium(para. 114) calls for their diligent support.

Pope John Paul II recalled the responsibility associated with the Mts.: “It is necessary to constantly reveal the beauty of prayer and worship and to live this beauty. It is important to pray to God not only with theologically accurate formulas, but also in a beautiful and dignified manner” (from a speech at a general audience on February 26, 2003).

In his speech on the occasion of the concert of the ancient church. music, held in the Sistine Chapel (06/28/2006), Pope Benedict XVI (J. Ratzinger) noted that the composers who create the liturg. music, must follow "the great tradition of Gregorian chant and sacred polyphony."

In Russia, Catholic. M.ts. has no long traditions. In Sov. few appeared over the years. Catholic chants in Russian language - both translated and original. Among Russians Catholics are familiar with the songs of Georg Gsell (1955-2003), as well as A.V. Kulichenko, who compiled the first extensive catholic. collection of churches chants in Russian Language.

Now with the liturgist. Commission of the Catholic Conference Bishops of Russia are acting muses. section, which in 2005 published a collection of churches. chants (edited by Valentina Novakovskaya).

M.d. in Protestantism.

Most of the reform movements of the late Middle Ages in the West made extensive use of rel. songs in vernacular languages, which contributed to the popularity of these movements; among the earliest collections that have survived to this day - cantionals Hussites of the 15th century

An essential feature that distinguished worship or societies was the prayer of the church. communities that arose as a result of the Reformation, from the Catholic ones, there was a common singing of the entire congregation. The leaders of the Reformation (including M. Luther and his associates) encouraged the development of spiritual chants, which were distinguished by the simplicity of the melody and the clarity of the poetic text (usually based on a biblical basis - often rhythmic and rhymed arrangements of psalms), which made them easy memorable and accessible to perform. In Germany, Protestant chorale was often based on the melodies of popular secular songs, in particular on the tunes Minnesingers. Many people worked in this style. professional composers, e.g. M. Pretorius, who created 1200 opuses based on chorales. At the same time, H. Schütz rarely relied on protest and chorale, preferring to compose music for arrangements of psalms, in which he developed the traditions of Gabrieli and Monteverdi. Later, cantata and oratorio music began to develop in the Lutheran environment, the masterpieces of which are presented in the works of I.S. Bach; one of the oratorio genres has become Passions, appeared as a result of the evolution of the Middle Ages. liturgical custom. readings of the Passion of the Lord in a chant with division of roles.

Anglican M.C. borrowed and developed many trends emerging on the continent. Among the most famous English composers - T. Tallis, W. Bird, G. Purcell; G.F. also composed for the Anglican Church. Handel.

Calvinists initially stopped using both polyphony and the organ (the Synod of Dordrecht in 1574 banned it, calling it a "box of satanic whistles"). The Lutherans also abandoned the organ, but soon returned it to worship (it gradually returned to the Reformed Churches from the 17th century). In the future he has. Lutheran organ performing art and composition of works for the organ reached the highest development (S. Scheidt, D. Buxtehude, J.S. Bach).

In the XIX-XX centuries. Many people wrote music for protests and worship services. outstanding composers (F. Mendelssohn-Bartholdy, E. Grieg, R. Vaughan Williams, B. Britten, etc.).

In most of the later movements of Protestantism, the use of songs with simple melodies, little rooted in the cult, prevails at prayer meetings. traditions and often focusing on popular secular models.

Eastern Christian tradition

Eastern Christian traditions of Byzantium. M.ts. closely connected with hymnography; in the works of outstanding early Byzantines. hymn writers (Roman Sladkopevets, Andrei Kritsky, Kosma Mayumsky, etc.) combined the composition of poetry and music, but the latter remains unknown due to the lack of musical notations.

From the 6th century The Byzantine modal-melodic system began to take shape. M.ts., later called octoechus (osmoglasiya). Each of 8 voices differs from others in the structure of the scale, as well as in the set of songs characteristic of it. An important stage was the systematization of Octoechos in the 7th-8th centuries, which is the main thing. the merits are traditionally attributed to John of Damascus and, later, Josephus the Hymnographer.

The rise of Byzantium. M.ts. fell on the XII - mid. XV century During this period, professional singers began to play a significant role, chanting existing liturgies. texts in accordance with the tastes and aesthetics of contemporaries; The most famous is John Kukuzel (late 13th-14th centuries), who also became famous as a theorist of M.Ts.

Byzantine. M.ts. has a monophonic character. In late Greek there is a tradition of singing with Ison(a sustained voice that is performed on a specific vowel sound by one group of a choir while another group or soloist sings the melody of the chant), but it is unknown how ancient this practice is. A special place belongs Kalofoninsky sticherary style: this is a very free melodic creativity based on text stichera, complemented by pure music. insert (kratima), in which instead of a specific text, syllables that have no semantic content are used.

In the late Middle Ages in Byzantium. M.ts. a more complex systematization of voices took shape. In the XVIII-XIX centuries. in Greek liturgist music has become popular makamyi- borrowed from Arabic, Persian, or Tur. music frets (there are more than 60 of them).

Development of the Byzantine Empire. M.ts. outside the Greek environment in interaction with music. cultures of other peoples resulted in the emergence of many. independent liturgical systems. music, distinguished by its special originality in Georgia, Bulgaria and Rus'.

Along with the Byzantine in the East, Christ. world from antiquity to the present time, several other ancient traditions of M.Ts. are alive, entrenched among the corresponding liturgists. rituals: Syrian (in various versions), Armenian, Coptic, Ethiopian.

Initially M.ts. majority of Eastern Christians traditions is monodyctic. The exception is Georgian, in which developed polyphony has been known since ancient times (probably under the influence of folklore). At a later time, polyphony penetrated into some other local traditions (including Russian). The traditional melodic basis with harmonization was used in the 19th-20th centuries. composers who wrote chants for Armenian (M.G. Ekmalyan, Komitas) or Maronite worship.

In M.C. some eastern rituals, the use of percussion and wind muses has been preserved. tools. In Armenians, the ritual in modern times began to use an organ or harmonium.

M.ts. in Russian Orthodoxy traditions. M.ts. came to Kievan Rus with the adoption of Christianity from Byzantium; at first it was hardly very different from Byzantine. Many melodic turns, adopted from Byzantium no later than the 12th century, were preserved in Russian. M.ts. until the 17th century However, already in Kievan Rus, in addition to supporters of the planting of the Byzantines. singing in its pure form, there were also those who preferred to sing Byzantine. texts of chants to other melodies (probably of local origin). As a result, the organic combination of Byzantines prevailed. and autochthonous elements (the latter included the modal-intonation fund).

Perhaps, at the first stage of the formation of Russian. M.ts. There was an influence of the Bulgarians as a kindred people, a people who already had experience in the development of the Byzantines. liturgy. In Greek in the original, most hymnographic texts were written in verses that had a clear meter; In the famous translation, the poems turned into prose, which excluded the possibility of adapting song melodies to them, but stimulated a creative approach in adapting muses. samples for various texts.

Rus. osmoharmony was formed through the gradual selection in singing practice of simple trichord and tetrachord motives of the diatonic sequence. Formed thus the motives served as models for singing various texts in voice and constituted poglasitsy. For all poglasits there was a single diatonic scale that did not go beyond the octave and was therefore accessible for singing.

Intonation fund of Russian M.ts. was constantly replenished by people. music, especially intensively in the 15th-16th centuries, when the motifs of poglasits moved into a new quality of chants - basic. motives for composing voice melodies. At the same time, the overall scale increased (up to duodecima).

According to Byzantium. aesthetic standards, church singing was originally monophonic. In the early period there were two singing styles: kondakarny And Znamenny; Znamenny chant was choral and mainly recitative, kondakar singing (disappeared by the beginning of the 14th century) - solo, melismatic, with large intra-syllabic chanting.

In the 15th century, with the displacement of the Studite liturgical charter by the Jerusalem one, a reform of the church took place. singing, the center of which was the Trinity-Sergius Lavra. At this time there arose travel And degenerate chants, and a little later - big banner. They all represent different types of melismatic chant intended for ceremonial services. In the XVI-XVII centuries. spread line singing, which was a kind of polyphony.

All R. XVII century in M.C. Moscow New melodic systems were introduced to Rus': Kyiv, Bulgarian And greek chants, characterized by greater tonic stability and simplicity of rhythm. Then to the church. in singing there has been a tendency to simplify tunes; the abridged version began to be called small znamenny chant, and the unabridged one - with a big znamenny chant. It was the first that became the basis of the everyday church system. singing (traditionally harmonized by duplicating the statutory melody into a third).

From the end XVI century in Ukraine in the Orthodox Church. M.ts. polyphonic Polish partes singing. In Moscow it became widespread under Tsar Alexei Mikhailovich, but from the 2nd quarter. XVIII century supplanted Italian partes singing- the style that Italy brought. court composers. When imp. Catherine II's bandmasters were B. Galuppi and G. Sarti, who composed the Orthodox Church. chants. In line with Italian. Some Russians also wrote in style. composers who influenced the further development of Russian. M.ts.: M.S. Berezovsky, D.S. Bortnyansky, S.A. Degtyarev.

To the church Russian music composers of the 19th-20th centuries There are various features of professional Europe. music; on the other hand, in plural The authors noticeably return to the origins. Attempts have been made repeatedly to improve the harmonization of everyday life (A.F. Lvov, P.I. Turchaninov, V.F. Odoevsky, S.V. Smolensky). From Russian classics. church music chants were written by F.M. Glinka, P.I. Tchaikovsky, S.V. Rachmaninov, A.T. Grechaninov and others. In Orthodox. church The repertoire includes works by such famous choral composers as A.A. Arkhangelsky, A.D. Kastalsky, P.G. Chesnokov.

In recent years, in many churches and monasteries of the Russian Orthodox Church. The Znamenny monophony is being revived in the Church.

P. Sakharov

Source: Catholic Encyclopedia. M., 2007. T 3. P. 641-655.